The Addams Family at Draper Historic Theatre

I haven't been to the Draper Historic Theatre since I went with my cousins Emily and Julie to see Once Upon a Mattress in 2009! I returned last night for a production of The Addams Family because is it even October if you don't see this show? I had so much fun (even though I thought it started at 7:30 instead of 7:00 and barely made it after having to park two blocks away). The Addams family is not like other families because they are all obsessed with death and the macabre and rely on their dead ancestors to help them through life. Complications ensue when Wednesday (Olivia Lane) falls in love with Lucas Beineke (Elijah Carillo), a normal Midwestern boy, and wants to introduce his uptight parents, Mal (Jonathan Saul) and Alice (Ayssa Powers), to her father Gomez (Brett Lyman), her mother Morticia (Beth Weber), her brother Pugsley (Kai Sanders), her uncle Fester (Keith Nielson), her Grandma (Laura Shipp), and her family's manservant Lurch (Cameron Hess). She arranges a dinner and begs her family for one normal night but, of course, things go wrong when a mishap involving a poisonous potion occurs during a game of Full Disclosure. It is up to Uncle Fester, with the help of the ancestors, to convince everyone that love is the answer! The cast is fantastic because everyone is perfectly suited to their role! Lyman and Weber have some hilarious interactions with each other and I especially loved their version of "Tango de Amor" because Weber is at least a foot taller than Lyman so their lifts and dips are highly amusing! Lane has both the look (I love that she sports Wednesday's signature braids) and the voice for this iconic character and her renditions of "Pulled" and "Crazier Than You" are really powerful and were the highlights of the show for me. Sanders is adorable as Pugsley (he sings "What If" with a lot of emotion) and Hess is an absolute hoot as Lurch (he is so perfect for the role that he doesn't even wear platform shoes). I also really enjoyed Carillo (he reminded me of the actor George MacKay) because he is endearingly awkward. The choreography is a lot of fun and I liked how the ancestors are integrated, especially in "When You're an Addams," "One Normal Night," "But Love," "Secrets," "Full Disclosure," "Just Around the Corner," and "The Moon and Me" (another highlight of the show). I was really impressed with the costumes and I don't know which I liked more: Gomez's burgundy velvet smoking jacket, Morticia's slinky black lace gown, or Wednesday's black jumper and white blouse. The costumes for the ancestors are also quite elaborate with lots of quirky details to enhance the characterization (I loved the hoop skirt for Marie Antoinette). Finally, the set is minimal but very effective. The stage is configured as a spooky graveyard in the woods with simple pieces brought on stage (my favorites were Gomez's collection of Medieval torture devices) and projections for various rooms in the Addams mansion. I recommend this as a fun show to see with the whole family for Halloween (go here for tickets). It runs on various days through Oct. 30.

Note: I will definitely be back for their production of Elf The Musical because is it even December if you don't see this show?

The Scarlet Pimpernel at Hopebox Theatre

One of my favorite novels when I was a teenager was The Scarlet Pimpernel by Baroness Orczy (I also loved the movie starring Jane Seymour and Anthony Andrews) so I am obviously a big fan of the stage adaptation. Last night I got to see it at the Hopebox Theatre and I was very impressed by the elaborate production. English aristocrat Percy Blakeney (Ricky Dowse) disguises himself as the Scarlet Pimpernel and recruits a band of followers to save his counterparts in France from the sinister Chauvelin (Dugan Brunker) and the guillotine during the French Revolution. He keeps his identity secret from his new wife Marguerite St. Just (Chrissy Andreasen), a Parisian actress, because he believes that she is helping Chauvelin, her former lover. He is also keeping his identity a secret from the Prince of Wales (Roger Brunker) by pretending to be a foppish nincompoop. His journeys to France are fraught with danger but he must make his most daring rescue when Marguerite is arrested trying to save her brother Armand (Porter Beesley). All three of the leads are fantastic and I loved their voices. Dowse is really entertaining as Percy and I laughed out loud at all of his dandified antics, especially his rendition of "The Creation of Man," but he is also very stirring in his performance of "Into the Fire" (my favorite song in the show) and quite affecting in "She Was There." Brunker is one of the best Chauvelins I've seen because his versions of "Falcon in the Dive" and "Where's the Girl" are incredibly passionate and his exasperation with Percy is a lot of fun. Andreasen is a lovely Marguerite and she sings "Storybook," "When I Look at You," and "I'll Forget You" beautifully and with a lot of emotion. The three of them also harmonize really well together in "The Riddle." The staging of the big musical numbers on such a small stage is extremely clever, especially "Into the Fire" because the boat used by the League of the Scarlet Pimpernel to travel from England to France appears suddenly from the rafters and the wings (I loved that Percy's boat is renamed Rachel's Resolve in honor of Rachel Rounds, the Wall of Hope recipient for this production, because it is such a touching detail), and the choreography is incredibly dynamic, particularly the integration of props (I loved the butterfly net and the cricket bat) in "Into the Fire" and "The Creation of Man" as well as the intricate patterns created by the dancers in "Ouilles Gavotte." This is a small community theatre but they really went all out with the costumes and set. Marguerite's gowns are gorgeous but the outfits worn by the League of the Scarlet Pimpernel take "frou frou" to the next level! The backdrop consists of marble archways and various set pieces for Marguerite's carousel at the Comédie-Française, Percy's study, the garden at the Bakeney estate, a prison, and the guillotine appear on stage by way of a turntable featuring a scarlet pimpernel. The guillotine is especially dramatic and a shadow effect used to show the drop of the blade is very effective. I had so much fun watching this show and I highly encourage everyone to get a ticket because, not only will you be entertained, you will be supporting a very worthwhile cause! It runs Mondays, Wednesdays, Fridays, and Saturdays (with a Saturday matinee) through Nov. 1. Tickets may be purchased here but act quickly because most shows are either sold out or have limited availability (although there is a possibility that more shows will be added).

Some Like It Hot at the Eccles

The 2025-2026 Broadway at the Eccles season began with a tap dancing extravaganza! I was really excited to see Some Like It Hot last night because I love the movie but had never seen the stage adaptation before. The musical follows the basic plot of the movie but it leans more heavily into the theme of identity and being true to yourself and I really liked it. During the Prohibition era in Chicago, two struggling musicians, Joe (Matt Loehr) and Jerry (Tavis Kordell), accidentally witness a mob hit by their boss Spats Colombo (Devon Goffman). In order to flee from the city without being caught, they are forced to disguise themselves as women, Josephine and Daphne, in order to join an all-female band, led by Sweet Sue (Dequina Moore), traveling to San Diego. Complications ensue when Joe disguises himself as an Austrian screenwriter to pursue the singer Sugar Kane (Leandra Ellis-Gaston), when the eccentric millionaire Osgood Fielding III (Edward Juvier) pursues Daphne, and when Spats eventually finds them. It turns out that Joe must discard Josephine and Kip von der Plotz and Jerry must embrace Daphne for them to find success and happiness. The choreography in this show is amazing! I am always impressed by tap dancing and I absolutely loved the dazzling performances in the dynamic high-energy numbers "You Can't Have Me (If You Don't Have Him)," "I'm California Bound," "Take It Up a Step," "Zee Bap," "Some Like It Hot," "Let's Be Bad" (the synchronization in this blew me away), "Dance the World Away," and "Baby, Let's Get Good." However, the number that impressed me the most is "Tip Tap Trouble" because the entire cast is involved in an epic chase sequence while tap dancing through constantly moving doors in the Hotel del Coronado. The precision and timing required for the complicated staging of this number is impressive, to say the least, and it is executed to perfection! Loehr and Kordell are outstanding dancers, especially when they dance in heels, and the ensemble is one of the best I've seen. This production features two powerhouse voices because both Moore and Ellis-Gaston just about blow the roof off the Eccles Theatre in "What Are You Thirsty For?" and "Ride Out the Storm," respectively. There are some really poignant moments, especially when Sugar sings about wanting to be a star in "At the Old Majestic Nickel Matinee" and when Osgood tells Daphne to just be herself in "Fly, Mariposa, Fly," but, like the movie, this show is really funny with lots of witty one-liners. I especially loved a running bit about how old Josephine looks but I laughed out loud at just about everything Osgood says and does (Juvier's hilarious performance is definitely one of the highlights). Finally, the Art Deco inspired sets and the glamorous costumes are a lot of fun. I had a blast watching this Tony Award-winning show and highly recommend getting a ticket (go here) for one of the five remaining performances.

Note: I have been sitting next to the same group of people ever since the Eccles Theatre opened (they have pretty much adopted me). This season they decided to give up one of their seats and my friend Angela was able to buy it. I had so much fun watching this show with her so I am really looking forward to the rest of the season.

Peter and the Starcatcher at the Empress Theatre

I think Peter and the Starcatcher is the perfect production for a small community theatre like the Empress because the show uses imagination to tell the backstory of Peter Pan so the set is usually very minimal and the actors pantomime much of the action and use ordinary objects as props like children do while playing make-believe. I saw the Empress Theatre's version last night and I absolutely love what they did with it because it is, well, very imaginative! Lord Aster (Brad A. Goodman), a "starcatcher," travels with a trunk of "starstuff" on a fast ship called The Wasp in order to destroy it before the pirate Back Stache (Alexander Richardson) and his first mate Smee (Gwen Jonsson) can steal it. His daughter Molly (Camille Bassett), an apprentice "starcatcher," is placed on a slower ship, The Neverland, with another trunk as a decoy and meets three orphan boys, including an unnamed boy (Koda Smith), while on board. When Molly discovers that the trunks have been switched, she convinces the orphans to help her complete her father's task. However, Black Stache also discovers the switch and attacks The Neverland which leads to a confrontation on an island, populated by hostile natives and enchanted by the "starstuff," during which Black Stache is transformed into the villain Captain Hook and the boy is transformed into the hero Peter Pan. I was impressed with some really clever staging and choreography, especially when cast members locate their costumes on stage and become their characters in front of the audience, when Black Stache attacks The Neverland with the Jolly Roger flag and uses it in a duel with the Union Jack, and when the crocodile appears from the balcony (with two red lights as eyes and strings of white bunting as teeth). I also loved all of the ingenious props (the model ships in bottles representing The Wasp and The Neverland and the hairbrush used as a microphone are so fun) and costumes (I laughed out loud at the iridescent fans used as mermaid tails and the woven placements worn by the natives). Everyone in the cast, many of whom play multiple roles, brings a childlike sense of wonder to their characters, especially Smith because he is incredibly vulnerable as Peter, Jonsson because she is so hilariously befuddled as Smee, and Zack Anderson because he (this role is always played by a man to great comedic effect) is very silly as Molly's nanny Mrs. Bumbrake. My favorite character in this show is Black Stache and Richardson definitely did not disappoint with his petulant facial expressions and over the top physicality, particularly in the scene when he loses his hand. I love this show (I think it is because, like Peter Pan, I never grew up) and I love this production because, more than any other version I've seen, it really does feel like a group of people who are using their imaginations to tell a story! I definitely recommend getting a ticket (go here) during its run through October 11.

Sister Act at HCT

Last night I went to Sister Act at HCT and, even though I wasn't especially looking forward to it because I have seen it so many times, I had a lot of fun watching this production. The musical is based on the 1992 movie of the same name and follows a lounge singer named Deloris Van Cartier (Mack) as she wreaks havoc on the convent where she has been placed for her protection until she can testify against her mobster boyfriend by taking over the choir. The entire cast is fantastic but I really liked Mack because she gives Deloris an emotional depth that I haven't see before, especially in her renditions of "Fabulous, Baby" and its reprise, Aioleoge Lesa as Curtis because he has a deep and sonorous voice (he reminded me of Barry White) and his version of "When I Find My Baby" is silky smooth, Christian Patrick Wawro as Eddie because he also has a great voice and his performance of "I Could Be That Guy" is very entertaining, and Ric Starnes as Monsignor O'Hara because his facial expressions are hilarious (I almost died laughing when he introduces the nuns like Ed McMahon introducing Johnny Carson). I also really enjoyed Bonnie Wilson Whitlock (she is a hoot in every show she is in) as the elderly nun Sister Mary Theresa and Sharon Lynn Kenison (another favorite from many local shows) as the cantankerous nun Sister Mary Lazarus because they both maintain their amusing characterizations throughout the whole show. I loved the choreography for the nuns in "Take Me to Heaven," "Sunday Morning Fever," and "Spread the Love Around," because the patterns they create across the floor are very creative (the integration of several props is especially fun), and for Curtis's henchmen TJ (Alec Powell), Joey (Abrin Tinney), and Pablo (Angel Martinez) in "Lady in a Long Black Dress," because they had the entire audience laughing out loud, especially for all of TJ's seductive poses! The sets are completely over the top with an awesome 1970s aesthetic (the shag carpet!) and I was quite impressed with the attention to detail, particularly in the dive bar and Eddie's apartment (it is very clever how it transforms into a club for the reprise of "Fabulous, Baby"). The Gothic arches hanging throughout the theater and the stained glass windows on the LED screens really add to the overall effect. The costumes also have a 1970s vibe (the leisure suits!) and I especially loved the pink and gold lamé outfits worn by Deloris's back-up dancers in the reprise of "Fabulous, Baby" and I loved how the Monsignor's vestments and the nuns's habits get more and more elaborate and bedazzled as the show goes on. This production really won me over and I recommend it for a fun night out (go here for tickets). It runs on the Young Living Centre Stage through October 25.

Note:  I also highly recommend the thoroughly entertaining show The Musical Comedy Murders of 1940 now on the Sorenson Legacy Jewel Box Stage through November 15 (go here for tickets).

The Hunchback of Notre Dame at the SCERA Center for the Performing Arts

Last night I went to see The Hunchback of Notre Dame at the SCERA Center for the Performing Arts and, even though I recently saw an outstanding production, I love this musical and I don't think I will ever get tired of seeing it so I really enjoyed this version, too! It tells Victor Hugo's classic story about how a gypsy girl named Esmeralda (Rose Fletcher) inadvertently captivates Claude Frollo (Andrew Lambert), the Archdeacon of Notre Dame Cathedral, Phoebus de Martin (Adam Moore), the Captain of the Cathedral Guard, and Quasimodo (Benjamin Oldroyd), a deformed boy who has been hidden in the bell tower his whole life, which brings about tragedy and redemption. I love just about every song and the talented cast sings them beautifully! Oldroyd is incredible (he is one of the best Quasimodos I've seen) and his versions of "Out There" and "Heaven's Light" are beautiful and filled with both wonder and longing while his version of "Made of Stone" is incredibly plaintive. Fletcher is alluring in "The Rhythm of the Tambourine" (she is a great dancer) and playful in "Top of the World" with Oldroyd but her emotional performances of "God Help the Outcasts" (my favorite song in the show) and "Someday" with Moore brought tears to my eyes.  Lambert portrays Frollo's torment very well and his powerful rendition of "Hellfire" gave me goosebumps. I also loved the portrayal of the Saints (Stan Peck, Krystal Bigler, Sarah Glancy, Lindsey Lebaron, Tanner Lybbert, Shawna Packer, and Xander Richey) because they have some of the best costumes I have seen and their interactions with Quasimodo are highly amusing in "Out There," "Top of the World," and "Flight into Egypt" but poignant in "Made of Stone" (I love how they turn back to stone when they abandon him). One of my favorite aspects of this production is the choreography because it so exuberant and athletic, especially in "Topsy Turvy," "The Tavern Song," and "The Court of Miracles," and the ensemble does an amazing job with it (I loved all of Keith Allen's flips as Clopin). I was also impressed by the clever staging of "Hellfire," the rescue of Esmeralda from the pyre, and Frollo's fall from the bell tower. The elaborate set features a dramatic multi-level stone cathedral dominated by a stunning rose window which then becomes the bell tower, the town square, and the Court of Miracles with the addition of several pieces moved on and off stage by the ensemble. This is a wonderful production of one of my favorite shows and I am glad that I got to see it again! It runs through October 4 and tickets may be purchased here.

2 Pianos 4 Hands at PTC

I didn't know much about 2 Pianos 4 Hands, the opening production for the 2025-2026 season at PTC, when I walked into the Meldrum Theatre last night but I ended up loving it so much! Richard Todd Adams and Matthew McGloin play Ted Dykstra and Richard Greenblatt (who wrote the piece about their own experiences), respectively, as well as their parents, teachers, and adjudicators as they pursue their dreams of becoming classical pianists. The first half is really funny as ten-year-old Ted and Richard struggle to learn scales and time signatures from eccentric teachers, endure pushy parents who want them to practice while their friends play hockey outside, and suffer from stage fright during performances before they get serious and begin competing against each other. The second half is more poignant as seventeen-year-old Ted and Richard begin auditioning for conservatories and learn the difference between being good and being great. Ted eventually becomes a piano teacher to adult students and Richard plays "Piano Man" for drunk and belligerent patrons at a bar before they come together in an emotional performance that is simply for the joy of playing. I think almost everyone can relate to this show, even those of us who were not forced to take piano lessons in our youth, because at some point we have all had to settle for being good but not great at something. Both Adam and McGloin give brilliant performances because, not only are they playing all of the classical music live on stage, they are doing so with a lot of physical comedy thrown in (my favorite scene is when the two of them fight each other while practicing a duet without missing a note) and their timing is perfect (especially when they seamlessly transition back and forth between being the soloist and being another character). The music is absolutely incredible and I was thrilled to hear Prelude No. 15 in D flat major "Raindrops" by Frederic Chopin and Sonata No. 8 in C minor "Pathetique" by Ludwig van Beethoven because they are some of my favorite pieces. As much as I loved the classical music, one of my favorite scenes is when Ted and Richard start goofing off while practicing and play a medley of pop songs (my favorite was the music from Chariots of Fire complete with slow motion running). The set is very simple, with two grand pianos dominating the space and a backdrop with geometric cutouts used for projections and shadows, but it is effective in portraying a variety of spaces. Finally, as a Canadian I absolutely loved all of the subtle allusions to Canada (the playwrights are Canadian), especially the use of a loonie. I had heard nothing but rave reviews for this production before seeing it and I was definitely not disappointed (it is now one of my favorite shows produced by PTC). I highly recommend getting a ticket (go here) but act quickly because most of the remaining performances through September 27 have limited availability.

Note:  Between this show, The Musical Comedy Murders of 1940 at HCT, and Flowers for Mrs. Harris at the Ruth, September has been a good month for seeing something new!

Little Shop of Horrors at CPT

Little Shop of Horrors is such a fun show and I loved seeing a fantastic production at CPT with my sisters and nephew last night. Seymour (Jake Heywood) and Audrey (Janae Klumpp-Gibb) both work in a run-down flower shop on Skid Row but the owner, Mr. Mushnik (Robert Gibbons), decides to close it because there are no customers. Seymour thinks that an unusual plant, which he found during a total eclipse of the sun and named Audrey II after his co-worker, will bring more business. The shop becomes wildly successful but Mr. Mushnik is concerned because Audrey II isn't thriving. Seymour inadvertently discovers that Audrey II likes drinking his blood after he cuts himself on a thorn and, eventually, it grows to a giant size demanding more and more blood. When Seymour can't spare any more of his blood, he feeds it the body of Audrey's abusive boyfriend Orin Scrivello (Brock Dalgleish), a sadistic dentist who has an unfortunate laughing gas accident, which wins him the love of Audrey but makes Audrey II even more insatiable. Seymour enjoys the notoriety Audrey II brings him but soon feels guilty about everyone who has died so he could feed it. He decides to get rid of it but eventually he and Audrey succumb to Audrey II's evil plan for world domination! There is a girl group, including Crystal (Kortney King-Lives), Ronnette (Tory Sandoval), and Chiffon (Alexandria Bird), that narrates the show with music combining rock and roll, doo-wop, and Motown and it sounds amazing. I really loved Klumpp-Gibb's performance because she has a beautiful voice and her versions of "Somewhere That's Green" and "Suddenly Seymour" brought the house down. Heywood is awkwardly adorable in "Grow For Me" and Dalgleish is completely over the top in "Be A Dentist" but Austin Payne steals the show as the voice of Audrey II by singing the blues in "Feed Me (Git It)." All of the puppets used for Audrey II, which get bigger and bigger, are incredible and the way that they are manipulated by puppeteer Mitch Gibb is so much fun to watch! Finally, I loved the set which features a street on Skid Row with lots of really fun details (my favorite is the fire escape where the girls often appear). The exterior of Mushnik's Flower Shop opens up to reveal an interior that gets more elaborate as the show goes on, including more and more of Audrey II's tendrils which eventually reach out into the audience during "Finale Ultimo (Don't Feed the Plants)." The cute couple sitting next to me told me that I had a smile on my face during the whole show and I'm sure that I did because I had such a great time watching it. I highly recommend getting a ticket (go here) during its run on the Mountain America Main Stage through October 14.

Silent Sky at Parker Theatre

I have seen two very different productions of the play Silent Sky, an elaborate and stylized one at HCT and a more stripped down version at the Empress Theatre, so I was really eager to see what Parker Theatre would do with it. I had the opportunity last night and I think the staging falls somewhere in between the two and I loved it just as much. It is a beautiful story about the real-life astronomer Henrietta Leavitt (Emma Widtfeldt) and her trailblazing discovery that allowed future astronomers to calculate the distance between galaxies. She begins working in the Observatory at Harvard University in 1900 as a human computer along with Annie Cannon (Emily Parker Holmgren) and Williamina Fleming (Hillary McChesney) and, even though they are not allowed to use the university's refracting telescope because they are women, her questions about the universe compel her to work long hours analyzing the images on the glass photographic plates taken from the telescope. However, her dedication to her work puts her at odds with her sister Margaret (Jalyn Bender) over family obligations and with her supervisor Peter Shaw (William McAllister) over their romantic relationship but her legacy is secured. What I love most about this story, besides seeing a group of strong and determined women defy societal expectations, is the exploration of what a legacy means through the juxtaposition of the two sisters. The play opens with Margaret receiving a marriage proposal and Henrietta receiving a job offer and this is very effective because it establishes that Margaret believes in home and family while Henrietta believes in opportunity and hard work. Then, in the epilogue, we learn about Margaret's children and grandchildren as well as the lasting impact of Henrietta's work (including the Hubble telescope) and that both legacies are equally valuable. Widtfeldt gives a lovely performance that is more subdued in the portrayal of Henrietta's romance with Peter but more passionate in her search for answers than I have seen before. I especially enjoyed her excitement when she makes an important connection while listening to her sister play the piano and her exhilaration at seeing her work published. The rest of the cast is also outstanding and I particularly loved McChesney's imperiousness (I laughed out loud at her sash and pamphlets) and McAllister's awkwardness. The set is simple but effective and includes an academic office with desks and stools (I loved the way the glass photographic plates are displayed) and smaller set pieces for Margaret's home in Wisconsin, Henrietta's apartment in Cambridge, and an ocean liner. There are stunning images from space projected on scrims multiple times throughout the show and the depiction of the telescope is very dramatic. The lighting design is also very dramatic, especially the spotlights on characters as they read letters to Henrietta. While each production that I've seen has been very different, the commonality is a beautiful and inspiring story and I highly recommend getting a ticket Parker's version playing Fridays and Saturdays through October 11. Go here for tickets.

The Full Monty at the Grand Theatre

Last night I went to the musical The Full Monty at the Grand Theatre.  I saw the Broadway touring production but that was over 20 years ago so I was really excited to see it again!  An unemployed steel worker in Buffalo, New York named Jerry Lukowski (Aaron Naylor) is worried when his ex-wife Pam (Becca Lemon) threatens to take full custody of their son Nathan (Oscar Bateman-Rapier) because he hasn't been paying child support.  He and his best friend Dave Bukatinsky (Trevor Blair) follow Pam and Dave's wife Georgie (Maggie Gadd) into a club where they have gone to see the Chippendales dancers and he gets the idea to form a striptease group himself to make some fast cash.  He eventually convinces Dave, who is self-conscious about his weight, and they recruit Malcolm MacGregor (Darrin Burnett), who is under the thumb of his invalid mother Molly (Chloe Ray Wood), and coerce Harold Nichols (Skylar Hawker), who hasn't told his materialistic wife Vicki (Alexa Shaheen) that he lost his job.  After they hold try-outs at the abandoned steel mill with Jeanette (Brandwynn Michelle), a chain-smoking veteran of show business who came with the piano, and add Noah "Horse" Simmons (Kiirt Banks), who is old with arthritis but can really dance, and Ethan Girad (Ian Fernandez Andersen), who is *ahem* well-endowed, they begin rehearsing as the group "Hot Metal."  Complications ensue but, with nothing left to lose, they decide to go "the full monty," or strip all the way, during their show and they not only impress their friends and family but they find their self-respect again!  This was so much fun and I loved it when the ensemble came out in the audience to get us cheering during the song "Let It Go" for Hot Metal's striptease (it got pretty rowdy!).  The main cast gives incredibly brave and heartwarming performances and they all have beautiful voices.  I especially loved Naylor in "Breeze Off the River," Blair and Hawker in "You Rule My World," and MacGregor and Andersen in "You Walk With Me."  Banks is a fabulous dancer and Michelle is an absolute hoot (I loved the plume of smoke that followed her).  The choreography is really clever, especially in "Michael Jordan's Ball" when the men equate dancing with playing sports and in "The Goods" when the men see what it feels like to be judged by their appearance like women are.  I also really enjoyed the costumes (the hockey fan in me loved all of Buffalo Sabres shirts) and the set made of wood, corrugated metal, and brick panels which are reconfigured throughout to become various locations is very effective at conveying a time and place.  This is a feel good show that will definitely have you cheering at the end (keep in mind that it does feature lots of profanity and nudity) and I had a great time!  It runs at the Grand Theatre on Thursdays, Fridays, and Saturdays through October 4 and tickets may be purchased here.

Flowers for Mrs. Harris at The Ruth

Last night, for the second night in a row, I was able to see a show that was new to me (a rare treat).  This time it was the North American premiere of the musical Flowers For Mrs. Harris at The Ruth.  I really love the movie, Mrs. Harris Goes to Paris, but I didn't love this adaptation quite as much.  Ada Harris (Dianna Graham) is a war widow in 1950s London who is content with her life working as a cleaning lady and spending time with the spirit of her dead husband (David Morley-Walker) and her friend Violet Butterfield (Janae Koralewski Thomas) until she sees a glamorous Dior gown owned by Lady Dant (Melanie Muranaka), one of her wealthy clients, and dreams of owning one herself.  She scrimps and saves and even takes in sewing in order to afford a Dior original but she still willingly helps everyone around her, including Bob Smith (Tanner Sumens), Pamela Penrose (Neena Warburton), Major Wallace (Jeff Thompson), and Countess Wyszcinska (Marcie Jacobsen).  She eventually travels to Paris to choose her gown and her kindness transforms the lives of everyone at the House of Dior, including Madame Colbert (Melanie Muranaka), Monsieur Armand (Jeff Thompson), Andre Fauvel (Tanner Sumens), and Natasha Raimbault (Neena Warburton).  When she returns home to London, she realizes that she has something much more meaningful than a dress.  I really love the message about the importance of having a dream, even one that is seemingly impossible, and the willingness to work hard in order to achieve it.  I also love the message about the importance of kindness and that it will eventually be rewarded in unexpected ways.  The design of this show is beautiful and I especially loved the multi-level rotating set featuring Ada's London flat on one side and the House of Dior on the other as well as the gorgeous couture gowns based on flowers (my favorite was "The Bluebell").  Graham gives a lovely performance that is very moving and it was fun to see most of the actors playing two similar characters in both London and Paris.  Unfortunately, I did not care for the music because it features lots of dialogue that is sung, instead of spoken, without a melody (much like a recitative in an opera) and I often found the piano accompaniment to be discordant (this may be due to the sound mixing because the music often overshadowed the voices).  The man sitting next to me said that he didn't think he would be humming any of the songs in the lobby after the show because they weren't very memorable.  An exception is the song "Rain On Me" because it is quite poignant and I really enjoyed it and its reprises.  I wish I could say that I loved this more than I did but I am glad that I saw it because it is always nice to see something new.  It runs in the Lindsay Legacy Theater through November 15 and tickets may be purchased here.

The Musical Comedy Murders of 1940 at HCT

Last night I was really excited for The Musical Comedy Murders of 1940 at HCT because I had never seen it before (this is something that doesn't happen very often). It is a hilarious spoof of both the noir detective thrillers and the slapstick comedies that were popular in the 1940s and I had so much fun watching it! A maid named Helsa Wenzel (Kristi Curtis) is murdered (although no one will notice until the end of Act 1) in the library of a mansion in Chappaqua, New York owned by a wealthy and eccentric impresario named Elsa Von Grossenknueten (Claire Kenny). Elsa has invited Nikki Crandall (Corinne Adair), a young and beautiful singer/dancer, Eddie McCuen (Kyle Baugh), a struggling comedian, and Patrick O'Reilly (Bryan Dayley), an Irish tenor, to the mansion to audition for the creative team behind a new Broadway musical, White House Merry-Go-Round, including the director Ken De La Maize (Zac Zumbrunnen), the composer Roger Hopewell (Dustin Bolt), the librettist Bernice Roth (Jasmine Jackman), and the producer Marjorie Baverstock (Eden Benson). However, it turns out that Ken, Roger, Bernice, and Marjorie were also part of the creative team for the musical Manhattan Holiday during which the "Stage Door Slasher" murdered several women, including Elsa's friend Bebe McAllister. She has assembled everyone together so that an undercover policeman, Michael Kelly (Scott James), can discover the identity of the "Stage Door Slasher" but, instead, there is another murder and Helsa's body is finally discovered. Chaos ensues, including secret passageways, secret identities, and a secret code, until the murderer is revealed! In this production, the plot is presented as a play-within-a-play with an Author (Davey Morrison) who is writing it (with projections of the text on a scrim when the show opens and above the stage periodically during the show) as it is being performed. The Author also speaks all of the stage directions and sometimes interacts with the cast (especially Eddie who is his stand-in during the romantic scenes with Nikki) to great comedic effect. The production design, including the set, the costumes, and the make-up, is incredibly clever and I won't spoil it here because it is such a dramatic reveal! The characters are completely over-the-top and I especially loved the flamboyant Roger and the emotional Bernice because they are constantly bickering with each other as well as Ken because he is so bombastic. The performances are also a lot of fun and the entire cast does a great job with the rapid-fire dialogue and the exaggerated physical comedy. Shout-outs go to Benson for the spectacular way in which she falls out of a chair and Dayley (one of my favorite frequent performers at HCT because he always makes me laugh) for his unhinged facial expressions. I thoroughly enjoyed this because it is both extremely funny and highly original and I definitely recommend it (go here for tickets). It runs on the Sorenson Legacy Jewel Box Stage through November 15 with best availability for the matinees.

Something Rotten at The Ruth

I have now seen the musical Something Rotten many times (I have already seen it twice this year with another production scheduled in a few months) but that didn't damper my excitement for The Ruth's version last night in the least!  I always joke that it was written specifically for me because I am a former English teacher who loves musical theatre and I don't think I stopped laughing once while watching this entertaining show!  Brothers Nick and Nigel Bottom (Ryan Shepherd and Austin Dorman, respectively) are desperate to write a hit play but they are constantly overshadowed by the wildly popular William Shakespeare (Jordan Nicholes).  When the soothsayer Thomas Nostradamus (Scott Rollins) tells Nick that the future of theatre involves singing and dancing, they set out to write the world's first musical.  However, inspiration fails so Nick returns to Nostradamus to learn what Shakespeare's most popular play will be and Omelette The Musical is born!  Eventually, the Bottom brothers realize that reaching the top means being true to thine own self.  I loved everyone in the cast but there were several standouts for me.  Rollins had everyone in the audience laughing out loud at his antics while trying to see the future (at one point he was lying upside down on a set of stairs).  Ondine Morgan-Garner as Portia, the repressed daughter of a Puritan and the love interest of Nigel, has hilarious facial expressions as she responds with *ahem* pleasure to Nigel's poetry (much of the profanity is toned down but most of the innuendos remain).  Nicholes oozes charisma as the bard and he is an incredible dancer with some impressive rock star moves (I especially loved the moonwalking and the athletic jumps in the song "Will Power").  However, I think Matt Baxter steals the show as Brother Jeremiah because his physicality and line deliveries are both playful and naughty (he is positively gleeful whenever he accuses the theatres of debauchery).  I really like Izzy Arrieta as a choreographer and his work in this show is very dynamic, especially with such a small stage.  I absolutely loved seeing so many different styles of dance from specific Broadway shows in "A Musical" and "Make an Omelette."  I always notice something new in these numbers every time I see this show and, in this production, I noticed references to The Music Man in both of them.  The set, which is configured as an Elizabethan theatre, is different from the ones I've seen in other versions but it is very effective and I particularly loved the backdrop used on the balcony (it reminded me of The Unicorn Tapestries).  I also loved the period costumes.  My favorite is the one worn by Lord Clapham (Josh Tenney) because it features pink and purple frills and it makes his line accusing Nick of making him look ridiculous even funnier!  If you are a fan of this show I definitely recommend getting a ticket (go here) because this production is very well done!  It runs in the Smith Grand Theatre through October 4.

The Wizard of Oz at the Terrace Plaza Playhouse

I had a lot of fun at Terrace Plaza Playhouse's production of The Wizard of Oz last night! Dorothy Gale (Maren Messerly) is transported from Kansas to the magical land of Oz by a tornado. When she wants to return home, she seeks help from Glinda the Good Witch (Mailee Halpin) who tells her to follow the yellow brick road to get to the Wizard (David Storm) in the Emerald City. Along the way, she encounters the Scarecrow (Autumn Spangler), who wants a brain, the Tin Man (Trey Montgomery Cornell), who wants a heart, and the Cowardly Lion (David Hales), who wants some courage. They must face the Wicked Witch of the West (Jacci Florence) before they learn that they had the power to achieve their desires within themselves all along. Messerly is a very appealing Dorothy and her rendition of "Somewhere Over the Rainbow" is beautiful. I was also very impressed by Spangler, Cornell, and Hales because they are outstanding in "If I Only Had a Brain," "If I Only Had a Heart," and "If I Only Had a Nerve," respectively. I especially enjoyed Spangler's dancing because it really seemed as if her body was made of straw. This does not have the same spectacle as some other productions I've seen but it is extremely clever. I especially loved the way the tornado, the snow on the poppies, the melting of the Wicked Witch, and the lift-off of the Wizard's balloon are staged. I also loved the use of puppets for Toto (Beckett Ronnow), the Crows, and the Flying Monkeys. The costumes are fun and whimsical and I particularly liked seeing Dorothy's gingham dress transform from grey in Kanasas to blue in Oz and then sparkly green when she arrives in the Emerald City (a fun detail), all of the colorful costumes worn by the Munchkins, the sparkly pink ball gown worn by Glinda, and the parasols carried by the poppies. The set, featuring a large and circular yellow brick road in the middle of the stage, is one of the most striking I've seen at this theatre and I loved the use of very muted tones in the set pieces for the door of the farmhouse, the picket fence, and a large windmill before an explosion of color happens once Dorothy gets to Oz. The apparatus used by the Wizard, complete with moving eyes and a moving mouth, is also very impressive. I often feel like the second act of this show gets bogged down but I think the pacing in this production is really tight and my attention never wavered. I now count this among my favorite productions at this theatre and I recommend it to families. It runs on Mondays, Fridays, and Saturdays through September 13 and tickets may be purchased here.

The Hunchback of Notre Dame at West Valley Arts

Last night I was absolutely thrilled that my performance of The Hunchback of Notre Dame at the West Valley Performing Arts Center was completely sold out because I have long been a fan of this theatre and they are so deserving of this support, especially for this show! I have seen it many times over the years and I can honestly say that this production is my favorite! It is simply amazing and you should probably stop reading right now and get a ticket (if you can). Quasimodo (Taylor J. Smith) has been hidden by his uncle Frollo (Chase Petersen) in the bell tower of Notre Dame Cathedral all of his life because of a deformity. However, he yearns to leave the cathedral and decides that the Feast of Fools would be the perfect opportunity to do so. He is eventually crowned the King of Fools but, when the crowd turns on him, he is rescued by the gypsy Esmeralda (Beatriz Melo). She also catches the eye of Phoebus de Martin (James Carter), the captain of the cathedral guard, and bewitches Frollo who becomes obsessed with possessing her. When Esmeralda rejects Frollo, he orders Phoebus to arrest her but he refuses and they become fugitives. Quasimodo gives them sanctuary in the cathedral which forces a dramatic confrontation in the bell tower. I was blown away by the staging of certain scenes and by the performances of my favorite songs. The childlike wonder and yearning expressed by Smith in "Out There" and "Heaven's Light" is palpable and I was incredibly moved by his performance of both songs.  I really liked seeing the actual portrayal of the trauma experienced by Phoebus on the battlefield juxtaposed with his desire for a bit of fun in the staging of "Rest and Recreation." Melo's entrance in the song "Rhythm of the Tambourine" is very dramatic and she absolutely commands the stage with her singing and dancing. It is easy to see how Quasimodo, Phoebus, and Frollo would be captivated by Esmeralda and I loved seeing the three of them circling her at the end of this number. She gives another incredible vocal performance of my favorite song, "God Help the Outcasts" (it brought tears to my eyes), and I loved her tender interactions with Smith in "Top of the World." In the staging of "Hellfire," Frollo lies prostrate at a statue of the Virgin Mary (Sophia Morrill Mancilla) and this image is unbelievably powerful. Petersen has rich deep voice and does an outstanding job of portraying Frollo's torment in this scene and in the scene where Frollo expresses his love for Esmeralda (I was actually stunned by the physicality of his advances because it is more aggressive than I have ever seen before). The interactions between Quasimodo and Phoebus when they search for Esmeralda are quite amusing and provide a bit of comic relief before the emotional and heartbreaking performance of "Someday" by Melo and Carter.  I loved the way the gargoyles are portrayed by Emily Duncan, Soren Ray, and Scot Struble because they seem like real people who interact with Quasimodo, especially in the passionate performance of "Made of Stone." The staging of Quasimodo's rescue of Esmeralda from the pyre and Frollo's fall from the bell tower are very striking and I loved seeing Jehan (Roman Curiel) embrace Quasimodo and Florika (Sophia Morrill Mancilla) embrace Esmeralda during the final scene. The costumes and sets, especially the bell tower, the bells, and the rose window that appears in the final scene, are all some of the best I've seen from this theatre. Everything about this production is very special and I loved experiencing it with a large and appreciative crowd! I highly recommend getting a ticket for one of the six remaining performances through August 30 (go here).

Shrek the Musical at Hopebox Theatre

I was really happy to see Shrek the Musical at Hopebox Theatre last night because it is such a fun show and it is for a very worthwhile cause! Shrek (Gregory Harrison) is an ogre just minding his own business when his swamp is invaded by the Fairytale Creatures banished from Duloc by Lord Farquaad (Justin L. Cook). After some encouragement from Pinocchio (Ace Johnston), he decides to visit Farquaad himself to get his swamp back. Along the way, he saves Donkey (Lance McDaniel) from Farquaad's guards and they end up traveling to Duloc together. Farquaad agrees to give Shrek back his swamp if he rescues Princess Fiona (Dusti Mulder) from a tower guarded by fire-breathing Dragon (Kaylee Echeverria) so he can marry her and become King. Donkey distracts Dragon so Shrek can rescue Fiona but chaos ensues on the way back to Duloc when Shrek develops feelings for Fiona. I was very impressed with the talented cast because everyone gives a performance that will put a smile on your face. Harrison is great in the title role because he is very charismatic but he also shows a lot of vulnerability behind the gruff exterior, especially in the songs "Who I'd Be," "When Words Fail," and "Build a Wall." McDaniel is so much fun as Donkey because his energetic physical performance is hilarious (I laughed out loud at his pole dance in "Make a Move"). Mulder has a beautiful voice and I particularly enjoyed her versions of "I Know It's Today" with Lizzie Abercrombie as Young Fiona and Everleigh Jensen as Teen Fiona (they harmonize so well together) and "This is How a Dream Comes True" with Harrison and McDaniel but I also enjoyed her physical performance in "I Think I Got You Beat" and "Morning Person" because her comedic timing is spot on. I loved Echeverria as Dragon because she can really sing the blues and her rendition of "Forever" is definitely a highlight. However, Cook steals the show as Farquaad because I don't think I stopped laughing whenever he was on stage! I especially loved seeing him dangle his tiny legs from his tower in "What's Up Duloc," ride in on a rocking horse to meet Fiona for the first time (when he dismounted from the rocking horse, it accidentally rolled away from him and his ad-libs had the crowd in hysterics), and walk down the flower-strewn aisle to his wedding. The ensemble is also very strong and I enjoyed the colorful costumes and lively choreography in "Story of My Life" and "Freak Flag." An honorable mention goes to Johnston as Pinocchio because their performance is very heartfelt. I am always impressed with how well the small space is utilized and for this show the stage features a series of steps configured to look like forest that revolve to become Farquaad's castle and the Dragon's keep with Shrek's swamp on one side of the stage and Fiona's tower on the other.  I had such a great time watching this show and I encourage everyone to get a ticket because not only will you be entertained but you will also be supporting the mission of Hopebox Theatre which is to bring hope to families battling cancer through the performing arts (go here to meet the inspiring recipient for this show). It runs Mondays, Wednesdays, Fridays and Saturdays (including a Saturday matinee) through September 6 and tickets may be purchased here.

Hello, Dolly! at the SCERA Shell Outdoor Theatre

Last night I spent a lovely evening under the stars at the SCERA Shell Outdoor Theatre seeing a charming production of Hello, Dolly! This is a really fun old fashioned show with big song and dance numbers and I thoroughly enjoyed it. At the turn of the century, the irascible Horace Vandergelder (Bryan Harper) decides to get married again so he will have someone to do all of the chores at his Hay & Feed Store in Yonkers, New York. His niece Ermengarde (Capri Gallacher) wants to marry an artist named Ambrose Kemper (Coleman Rowberry) but Vandergelder objects because he doesn't have a steady income. His clerk Cornelius Hackl (Jacob Nilson) is longing for an adventure in New York City so he convinces his fellow clerk Barnaby Tucker (Joey Thompson) to come along with him and they vow not to return to Yonkers until they have both kissed a girl. They soon meet Irene Molloy (Chloe Henry), who owns a millinery shop in NYC but wants a rich husband to take her away because she hates hats, and her excitable assistant Minnie Fay (Rebecca Varney). A recently widowed matchmaker named Dolly Gallagher Levi (Allison Brooks) is hired to find a wife for Vandergelder but she decides that she wants to marry him herself. She just needs to convince him! She eventually arranges for all of the couples to meet for a memorable evening at the Harmonia Gardens Restaurant in NYC and merriment ensues. One of the biggest highlights of this show for me was the live orchestra, under the baton of Marden Pond, because they sounded absolutely amazing! Another highlight was Brooks because she gives an incredibly charismatic performance as the irrepressible Dolly. She has a beautiful voice, especially in the song "Before the Parade Passes Me By," and she does a great job with all of the choreography but I loved her facial expressions as she bamboozles Vandergelder at the Harmonia Gardens because they are hilarious. Honorable mentions go to Henry, who also has a beautiful voice in the songs "Ribbons Down My Back" and "It Only Takes a Moment," and Thompson because he is an amazing dancer in "Dancing" and "Elegance" (it is really impressive how high he can kick). The energetic choreography is a lot of fun and the ensemble looks like they are having a blast in "Put on Your Sunday Clothes," "Dancing," and "Hello, Dolly!" (I loved the kickline). The set featuring pastel colored storefronts, several of which open up to become Vandergelder's Hay & Feed Store, Irene Molloy's Millinery Shop, and the Harmonia Gardens Restaurant, in both Yonkers and New York City is fantastic and the period costumes, especially the opulent red gown worn by Dolly at the Harmonia Gardens, are dazzling. I really love these classic musicals and I definitely recommend getting a ticket for this production (go here) before the parade passes you by! It runs at the SCERA Shell on Mondays, Tuesdays, Thursdays, Fridays, and Saturdays through August 19.

Daddy Long Legs at CPT

I fell in love with the musical Daddy Long Legs when I saw a production at HCT several years ago so I was thrilled to see that it was part of the 2025 season at CPT on the second stage. I tried to convince my sisters to get tickets with me to no avail (although they did get tickets to Pride and Prejudice on the second stage later this year) so I went on my own last night. CPT's production is absolutely enchanting and I loved it! At the turn of the century, Jervis Pendleton (Jacob Coates) is a young and wealthy trustee of the John Grier Home. An essay written by Jerusha Abbott (Mackenzie Turner), the oldest orphan at the home, impresses him and he decides to send her to college so she can achieve her dream of becoming a writer. He will pay her tuition and all of her living expenses on the condition that he remain anonymous and that she writes him a letter once a month informing him of her progress. Since she doesn't know his name, she refers to him as Daddy Long Legs because of the tall shadow she saw when he left the orphanage and he finds her letters to be charming. Against his better judgement he meets her without revealing that he is her benefactor and then falls in love with her. Jerusha also falls in love with him but, when she pours her heart out about her feelings for Jervis Pendleton in her letters to Daddy Long Legs, it creates confusion as he struggles to decide whether to reveal himself to her. I really love Jerusha as a character because she has such a thirst for knowledge and for new experiences so I definitely relate to her. I also love her growth and development as a character because, by the end of the show, she proves herself to be her benefactor's equal and he ultimately feels like she has given him far more than he gave her. Both Turner and and Coates, who have beautiful voices, give incredibly dynamic performances because they, quite literally, carry the show by themselves. Turner is so much fun to watch because of her wide-eyed wonder and her palpable yearning for more, especially in the songs "Like Other Girls" (my favorite in the show) and "Things I Didn't Know." Coates is also fun to watch because of his facial expressions, particularly his smitten awkwardness when Jervis and Jerusha first meet, his exasperation when he attempts to write to Jerusha only to throw the letters in the trash, and his jealousy every time Jerusha mentions her roommate's brother. The set features a large curving bookcase and window seat upstage and this creates an elaborate study for Jervis on one side as well as a location for the live band (Jason Anderson on guitar, Risa Bean on cello, and Jackie Ward on piano) on the other side. There are a series of platforms downstage with trunks and suitcases that are configured and reconfigured to become multiple locations for Jerusha. I think this is very clever because it shows Jerusha's transformation throughout the show. Jerusha's costumes and hairstyles are also very effective at showing her growth because they become more and more embellished and elaborate as the show progresses (I loved the attention to detail because her first costume at the orphanage has frayed hems and is too big for her). I had a smile on my face the whole time while watching this delightful show and I highly recommend getting a ticket (go here). It runs on the second stage through September 2.

Macbeth at Parker Theatre

When Parker Theatre announced their 2025 season, Macbeth was the show that I was most excited to see and I had the opportunity last night. The production I recently saw at the Utah Shakespeare Festival was absolutely amazing but this was so different that I was able to enjoy it on its own merits and I loved it! When Macbeth (Lucas Charon), the Thane of Glamis, is victorious in battle, he is met by Three Witches (Kathryn Atwood, Madeline Thatcher, and Isabelle Purdie) who prophesy that he will become the Thane of Cawdor and then the King of Scotland. When King Duncan (Stuart Mitchell) bestows the title of Cawdor on him, he starts to believe the prophecy will eventually come true. However, the ambitious Lady Macbeth (McKenna Walwyn) is not content to wait and spurs him on to take matters into his own hands. After the brutal murder of Duncan, his sons Malcolm (Spencer Hohl) and Donalbain (David Oliphant) flee and Macbeth takes the throne but he is forced to kill again and again to keep it. Both he and Lady Macbeth come undone because of their guilt and paranoia over their bloody deeds until another prophecy comes true and Macbeth is defeated by Macduff (Anthony Lovato). What I particularly loved about this production is its emphasis on the time and place, medieval Scotland, with the set and costumes. The stage features imposing stone pillars with wooden tables and benches, a stone fireplace, and arched windows moved on and off stage by the ensemble. A cyclorama upstage is used for atmospheric projections of the rugged Scottish landscape and the castle of Dunsinane shrouded in mist. Most characters wear simple wool tunics draped in tartan (which is very accurate for the period) and the witches are portrayed as old crones rather than supernatural beings. The sound design is incredibly menacing (although I loved the use of bagpipes) and the fight choreography incorporates medieval warfare (an early scene involves a command from the king for Macbeth and his feudal lords to fight for him). This attention to detail really sets the mood for the unnatural deeds that follow and I loved it! I also really loved the choices that Charon and Walwyn make with their performances. Macbeth is extremely tentative and Lady Macbeth is the aggressor (she even slaps him) in their decision to murder the king but then their roles reverse once they begin to regret their actions.  The scene when Macbeth is tormented by the ghost of Banquo (David Hanson) is unbelievably powerful because he dominates her (at one point I gasped out loud).  After her death, he becomes gentle with her again and almost whispers his lines as he cradles her body. He then seems resigned to his fate and meets the invaders while sitting on his throne. I had chills in many of these scenes. I was also struck by the use of the witches because they are a dominant presence (I really liked seeing their shadows), especially in Lady Macbeth's "sleepwalking" scene because they appear to her with the ghost of her child and in the final battle because they appear to Macbeth as if to confirm their final prophecy.  The way that Macbeth is crowned is also staged in a very powerful way. I am thrilled that I have been able to see two brilliant productions of one of my favorite Shakespeare plays this summer and I highly recommend getting a ticket to this one at the Parker (go here). It runs on Fridays and Saturdays (including a Saturday matinee) through August 30.

Hairspray at Murray Park Amphitheater

Last night I saw the musical Hairspray under the stars at the Murray Park Amphitheater (one of my favorite summer activities).  I love this show for its positive message about loving who you are, following your dreams, and standing up for what you believe is right and this production is so much fun!  Plus-sized Tracy Turnblad (Hannah Fellows) dreams of being one of the dancers on the Corny Collins (John "Bobby Jay" Haraden) Show, of having teen heartthrob Link Larkin (Porter Beesley) notice her, of integrating the show so Seaweed (Colton Kraus) and all of her Back friends from detention can dance with her, and winning the Miss Teenage Hairspray crown.  Velma Von Tussle (Julie Blatter), the former Miss Baltimore Crabs who now produces the show, and her daughter Amber (Makayla Conner Marriott) do everything they can to stop her from making her dreams come true but you can't stop the beat!  The cast is really exuberant and their excitement at being a part of this show is palpable and infectious!  Hannah Fellows is an incredibly charismatic Tracy and I particularly loved her hilarious rendition of "I Can Hear the Bells." I also laughed out loud at the antics of Jerrod Dew and Mark Fellows as Tracy's parents Edna and Wilbur Turnblad, respectively, especially when Edna dips Wilbur in "Timeless to Me."  Kraus is a fabulous dancer and I really enjoyed his dynamic version of "Run and Tell That" and Blatter performs "(The Legend of) Miss Baltimore Crabs" with a glint in her eye but, in my opinion, the highlight of the show comes from Fantasia Burgess as Motormouth Maybelle because she brings the house down with "I Know Where I've Been."  The 1960s inspired choreography in "The Nicest Kids in Town," "The Madison," "Welcome to the '60s," "The Big Dollhouse," "Hairspray," and "You Can't Stop the Beat" is an absolute blast to watch and the ensemble does a great job with it (I was especially impressed with Jezuz Gomez-Villalobos, Jessica Pierce, and Anna Kaitlyn Burningham as the Dynamites).  The staging is quite minimal but I really liked the backdrops, which feature bold colors and geometric patterns, and the period costumes.  There are five more opportunities to see this cute show (go here for tickets) and I highly recommend it because I loved it!

Note:  I love that there is always a live orchestra for every production at Murray Amphitheater and the one for this show, under the baton of Robert Bedont, is fantastic!  Their performance was another highlight for me!