Once at CPT

I went back to CPT last night to see Once on the Mountain America Main Stage with both of my sisters. I love this show so much and, because the people sitting around me didn't know anything about it, I was really hyping it up! Luckily they all enjoyed this production as much as I did! A Guy (Nathan Bowser) is busking on a Dublin street when a Girl (Lindsea Garside) strikes up a conversation with him because she likes his music. He reluctantly tells her that he wants to give up on music because all of his songs are about a girl who left him to move to New York. The Girl encourages him to play more of his music for her and eventually helps him record a demo. He begins to have feelings for her and reveals that he may have written the songs for another girl but now he is singing them for her. She knows that she needs to reconcile with her estranged husband for the sake of her daughter and that he needs to go to New York and play his music for his former girlfriend so, even though she loves him, she tearfully convinces him to go. The ending is bittersweet (I always get tears in my eyes) but I think the theme is universal because most of us have had people enter our lives for a brief moment and have a profound impact on us. I absolutely loved the staging of this production (every version I have seen has been slightly different) because the set features a Dublin street and the exteriors of a repair shop, a music store, the Girl's house, and a pub. Minimal set pieces for the interiors of these locations are brought on by the ensemble through a large garage door on the street and the lights inside each building are illuminated to denote where the scene is taking place (I think this is really clever). Every member of the ensemble, including Brandon Garside, Theresa Chatelain, Faith Driggs, Isaac Carrillo, Ryan Boam, Kristen Alley, Jacob Draper, David Johnson, Alec Halpin, and Katie Lewis Higbee, plays multiple instruments live on stage and the way they are integrated into the narrative is brilliant (they are all unbelievably talented). The folk music is beautiful and hearing my favorite songs, "Falling Slowly" (even if you are not familiar with this show you might recognize this), "If You Want Me," and "Gold," gave me goosebumps! Bowser and Garside are outstanding as the leads and they give incredibly passionate performances (Garside's rendition of "The Hill" is especially powerful). Finally, the original Broadway production features a lot of profanity but this version, much like the one at HCTO, omits it so it is suitable for everyone. This show is grand and it definitely deserves to be seen by more people so I highly recommend getting a ticket (go here). It runs on the Mountain America Main Stage at CPT through August 18.

Tarzan at CPT

Last night I went to see Tarzan on the Second Stage at CPT. I was really excited for this show because I had heard rave reviews for the production and I was definitely not disappointed! This musical is based on the popular story by Edgar Rice Burroughs and features fantastic music by Phil Collins. Kerchak (Ben Fonoimoana Tutor), the leader of a tribe of gorillas, is unhappy when his wife Kala (Janzell Luika Kim Tutor) adopts a baby whose parents have been killed because he doesn't think a human belongs with their family. Young Tarzan (Levi W. Johnson) struggles to keep up with the rest of the tribe until he is befriended by Terk (Braden Hull) who shows him how to be a gorilla but when he teaches Terk to make a spear for picking fruit, Kerchak is afraid that he will hurt the other gorillas so he forces him into exile. Tarzan is distraught and wonders where he belongs so Kala decides to stay with him. Years later, Tarzan (Levi Larsen) is welcomed back into the tribe after he kills a leopard that has been terrorizing them. However, when Professor Porter (Nathan Jones) and his daughter Jane (Summer Sloan Alvey) bring an expedition to the jungle, Kerchak worries that Taran's interactions with the humans, especially Jane, will bring harm to the tribe. When Clayton (Hayden Henderson), a member of the expedition, threatens the gorillas, Tarzan must decide whether he belongs with Jane and the humans or with his adopted family. What makes this production so dazzling is the incredibly immersive set with dynamic projections on the LED screens that surround the stage and the audience (I loved watching the subtle movements of the leaves) and hanging vines from the rafters because these elements, along with the sound design, make you feel like you are actually in the middle of the jungle. I especially loved the staging of the shipwreck at the beginning of the show because it features the sound of waves and a projection of a ship on a scrim in the middle of the stage. It is incredibly realistic! The set also features a large tree that opens up to become Professor Porter's camp and a balcony that is transformed into the tree house built by Tarzan's parents. This stage is so intimate that Tarzan actually flies through the audience when he swings on the vines (he was literally a few inches from me)! Larsen is an incredibly athletic Tarzan who is really fun to watch (the three young girls sitting next to me were very enamored with him). I loved his performance of "Strangers Like Me," my favorite song in the show, but his version of "Everything That I Am" gave me goosebumps. Alvey has a wide-eyed wonder in the songs "Waiting For This Moment" and "For The First Time" (for both the flora and fauna and for Tarzan) and I loved all of her interactions with Larsen because she tries to hide the fact that she finds him attractive. Other standouts are Hull because he has a boisterous energy that is palpable and Johnson because he is adorable and his rendition of "I Need to Know" is so affecting. The choreography is thrilling and I especially enjoyed the rambunctious leaps and jumps in "Trashin' The Camp" and the aerialists in "Waiting For This Moment." The costumes are very vibrant and I also loved the puppets (the elephant made me giggle out loud). This production is outstanding and I highly recommend it for the whole family (all of the kids in the audience seemed to be having a lot of fun). It runs on the Second Stage through August 8 and tickets may be purchased here.

Note:  As I mentioned, the three girls sitting next to me were very vocal in their appreciation for Tarzan so Larsen high-fived them during the bows. I think it was the highlight of their lives!

The Scarlet Pimpernel at The Ruth

I was absolutely obsessed with Baroness Orczy's novel The Scarlet Pimpernel when I was a teenager (I also really loved the movie adaptation starring Anthony Edwards and Jane Seymour) so I always try to see the stage adaptation whenever it is playing near me.  I went to The Ruth's production last night and I had so much fun anticipating all of my favorite numbers.  Sir Percy Blakeney (Scott Hendrickson) disguises himself as the Scarlet Pimpernel and recruits a league of followers (Elijah Wolford, Maxx Teuscher, Kegan Bjornn, Charlie Flint, Tanner Garner, and Joshua Jones) from his fellow aristocrats in order to save the people of Paris from the sinister Chauvelin (Bronson Dameron) and the guillotine during the French Revolution.  He keeps his identity secret from his wife Marguerite St. Just (Malia Morley), a Parisian actress, because he believes that she is helping Chauvelin, her former lover.  He also keeps his identity secret from the Prince of Wales (Daniel Clegg) by pretending to be a foppish nincompoop!  However, he must make his most daring rescue yet when Marguerite and her brother Armand (Cole Hixson) are arrested.  When I entered the theater, I was really struck by the dramatic set, featuring large stone arches that become the Comedie-Francaise, Blakeney Manor, the prison at the Conciergerie, the square at the Place de la Concorde, and the Fisherman's Rest with just the addition of a few backdrops and set pieces (the most notable is the guillotine), as well as the bold red lighting which is extremely effective at creating a mood immediately.  I was also very impressed by the gorgeous costumes, particularly the flamboyantly frou frou outfits worn in "The Creation of Man" and the stylized wigs worn in "Storybook."  The staging of some of the most memorable scenes is simple but incredibly clever and I loved the transition from Percy's study to the ship as the league travels to France during "Into the Fire," the way they save people from the guillotine in "The Rescue," and the way Percy fools Chauvelin in "The Duel." I also really enjoyed the choreography during the intricate "Ouilles Gavotte" as Marguerite questions the men to learn the identity of the Pimpernel and the dramatic way that Percy, Marguerite, and Chauvelin circle each other during "The Riddle."  The three leads are outstanding but Hendrickson, especially, does an amazing job portraying Percy's strength as the Pimpernel, his vulnerability as a man who loves but can't trust his wife (his performances of "Prayer" and "She Was There" gave me chills), and his silliness as a man trying to hide his identity.  His interactions with Dameron are hilarious because the latter becomes visibly exasperated whenever he conspicuously mispronounces his name.  This show is a favorite with Utah audiences and The Ruth's production is one of the best I've seen so I highly recommend getting a ticket (go here) before they are gone.  It runs in the Smith Grand Theater through August 22.

Hell's Kitchen at the Eccles

As a big fan of Alicia Keys, I have been looking forward to Hell's Kitchen ever since the 2025-2026 Broadway at the Eccles season was announced. I finally had the chance to see it last night and I loved it because the music, the choreography, and the performances are amazing! This features songs by Alicia Keys with a semi-autobiographical story about her experiences growing up in Manhattan in the 1990s. Seventeen-year-old Ali (Maya Drake) is trying to find her voice and place in the world with her overprotective mother Jersey (Kennedy Caughell), who is afraid that her daughter will make the same mistakes she did, and her absent father Davis (Desmond Sean Ellington), who prioritizes his music career over his responsibilities, while pursuing an ill-advised relationship with an older man named Knuck (JonAvery Worrell), who becomes a victim of discrimination and overpolicing. She finds refuge when Miss Liza Jane (Roz White), a resident of the subsidized artist housing where she lives, begins teaching her how to play the piano and she ultimately channels her anger, pain, and passion into her music. In my opinion, the weakest element is the story because there are a quite a few themes that are only explored on a superficial level as well as several underdeveloped characters who disappear in the second act after they are no longer needed to advance the plot but I did really enjoy the way the mother-daughter relationship is portrayed and the resolution between Ali and Jersey is very satisfying. The highlight is the music (I had to stop myself multiple times from singing along). I loved hearing several of my favorite Alicia Keys songs reinterpreted to fit within the narrative, such as "Girl on Fire" which Ali's friends Tiny (Gigi Lewis) and Jessica (Marley Soleil) sing as both an anthem to female empowerment but also as a cautionary tale, "Fallin'" as duet between Jersey and Davis as she criticizes him for his abandonment but still feels a romantic pull when he flirts with her, "If I Ain't Got You" as a duet between Davis and Ali as they sing the song he wrote for her to show he loves her even if he is not there for her, "No One" as a duet between Jersey and Ali as they reflect on their mother-daughter bond, and, of course, "Empire State of Mind" (my favorite Alicia Keys song) as a triumphant ode to the neighborhood that formed her. There are a few new songs included and my favorite was "Kaleidoscope" because it is such a pivotal moment when Ali's world expands after she meets Miss Liza Jane and plays the piano for the first time. I also really loved the dynamic choreography because the high-energy steps performed by the ensemble are a reflection of Ali's environment, especially in "The Gospel," "You Don't Know My Name," "Kaleidoscope" (this was my favorite because the ensemble seems to dance with the grand piano), "Girl on Fire," and "Empire State of Mind," and the more soulful movements performed by smaller groups embody Ali's internal journey, particularly in "Un-Thinkable (I'm Ready)" and "Hallelujah." The performances blew me away! I was especially impressed by newcomer Drake (who is a recent high school graduate making her professional stage debut) because she effortlessly carries the show with her powerful vocals and electric stage presence. I also enjoyed Caughell because she brings the house down with her rendition of "Pawn It All" and White because her performance of "Perfect Way to Die" is absolutely devastating. Finally, towering metal structures and projections bring the high-rise building where Ali lives and the surrounding neighborhood to life very vividly (I loved the projections used for the elevator) and the costumes effectively transport the audience back to the 1990s. This show is on fire and I highly recommend it! There are five more performances at the Eccles through July 12 (go here for tickets).

Our Town at HCT

Last night was my first time seeing Thornton Wilder's classic play Our Town (you would think that someone with a literature degree and a love of theatre would have seen it by now) and it was also my first time seeing a production on the new Beehive Stage at HCT. I loved both the performance and the venue!  A Stage Manager (Michael Hohl) often breaks the fourth wall to introduce the audience to Grover's Corners, New Hampshire during the early years of the 20th century and the narrative unfolds on a minimal stage without props.  Act 1 includes the every day activities of the inhabitants: Joe Crowell (Samuel Karlinsey) delivers the newspaper, Howie Newsome (Austin Zimmerman) delivers the milk, Dr. Gibbs (Sanford Porter) returns home from delivering twins, Mr. Webb (Ben Parkes) observes the goings-on in the town as editor of the newspaper, Mrs. Gibbs (Cecily Ellis-Bills) and Mrs. Webb (Becca Ingram) make breakfast and get their children, George and Rebecca Gibbs (Timothy Quesenberry and Tessa Jensen, respectively) and Emily and Wally Webb (Mariah Grace Bowman and Wyatt Bills, respectively), ready for school, Simon Stimson (Jared Stewart) struggles to control his alcoholism, and Mrs. Luella Soames (Jayne Luke) gossips with the women of the town. Act 2, which takes place three years later, includes the courtship and marriage of George Gibbs and Emily Webb against the backdrop of these same every day activities (Joe's younger brother Si now delivers the newspapers). Act 3, which takes place nine years later, includes the funeral of Emily Gibbs, who died in childbirth, during which she observes the living before joining the dead of Grover's Corners.  This is very slow, deliberate, and episodic and I have to admit that I found it to be incredibly tedious until the reason for this restraint was revealed in Act 3. Emily ultimately realizes that life is fleeting and that the mundane activities we often take for granted are what make life beautiful and meaningful. This is a powerful and poignant message and I had tears in my eyes by the end of the act. I think the use of metatheatrical devices, such as having the Stage Manager give the characters direction as well as break the fourth wall, is absolutely brilliant because it blurs the line between fiction and reality and lets the audience observe what is happening from a distance much like Emily does after her death.  I also loved the minimal stage with just the hint of various locations, particularly the chalk drawings on the LED screen, because this emphasizes that Grover's Corners could be any town (the more intimate Beehive Stage is the perfect venue for this play). Finally, I found the performances to be very moving, particularly when Hohl speaks about eternity and when Quesenbery and Bowman finally reveal their feelings for each other, but also quite funny, especially when Parkes tries to give advice to his future son-in-law. I am so happy that I finally had the opportunity to see this groundbreaking play and I highly recommend getting a ticket (go here). It runs on the new Miller Family Beehive Stage through Oct. 19.

Note:  I cannot recommend Harmony enough!  It is also playing at HCT on the Sorenson Legacy Jewel Box Stage through August 1 (go here for tickets).

Urinetown The Musical at Hopebox Theatre

I went to the national tour of Urinetown The Musical when it came through SLC in 2004 but I haven't seen it since so I was very excited for a production at the Hopebox Theatre last night. I loved it and I think it is my new favorite show at this theatre. In a dystopian future in which a 20-year drought has caused a severe water shortage, consumption is controlled by a ban on private toilets. The Urine Good Company, under the control of the megalomaniac Caldwell B. Cladwell (Jim Dale), owns all public toilets and charges an exorbitant fee to use them. Anyone who breaks the law by peeing for free is sent by Officer Lockstock (Dylan Watson) and Officer Barrel (Kaltin Kirby) to the mysterious "Urinetown" from which no one ever returns. After Cladwell bribes Senator Fipp (Jen Morgan) to vote for an increase in fees, Bobby Strong (Sean Bishop), the assistant custodian of Amenity #9 in the poorest part of town, decides to take control from the warden Penelope Pennywise (Elizabeth Rossander) and eventually stages a rebellion. Bobby takes Cladwell's daughter Hope (Allison Hogge) hostage and, when this results in tragedy, she leads the people to victory and sends her father to "Urinetown" with unexpected consequences. This is a hilariously self-aware spoof of musical theatre and I especially loved it every time Officer Lockstock and Little Sally (Morgan Richards) break the fourth wall to describe all of the tropes that are being used in the show. My favorites were the use of stock characters (the omniscient narrator, the innocent ingenue, the plucky hero, the melodramatic villain, etc.) as well as the amusing names (I laughed out loud every time I heard lock, stock, and barrel). However, in addition to the humor, this show is also uncomfortably thought-provoking with themes of diminishing resources, corporate greed, late stage capitalism, corruption, and social inequality. These themes are particularly compelling in a state facing a severe drought with leaders who seem to be more concerned with their own greed than the public good. As uneasy as the message made me feel about the current state of the world, I thoroughly enjoyed every aspect of this production. The cast is one of the best I have seen at this theatre. The leads, Bishop and Hogge, have beautiful voices and give lovely performances that balance the satire but I think Watson steals the show with his over-the-top facial expressions and campy delivery. The ensemble is also very strong and the standout for me was Jack Dwyer because of his exaggerated physicality. The choreography is incredibly dynamic (my favorite numbers were "Too Much Exposition," "Cop Song," "Why Did I Listen to That Man," and "We're Not Sorry" because they feature the entire cast and utilize the small space very well), the minimal sets evoke a bleak and dystopian world, and the costumes do a great job in differentiating the economic classes. As with every production at the Hopebox Theatre, the proceeds are going to help someone in the community battling cancer and the recipient for this show is Carla Avis (go here to learn about her). I highly recommend getting a ticket because, not only is this show outstanding, it is for a good cause (go here for tickets). Act quickly because there are only three performances left!

Xanadu at West Valley Arts

I love the movie Xanadu! It is really cheesy when I watch it now but back in the day it was one of my favorites and I have seen it too many times to count (I'm sure it is an embarrassingly large number). I had no idea that a musical adaptation existed but, as soon as I found out that West Valley Arts was performing it, I got a ticket immediately! I went to see it last night and it was way too much fun! Sonny Malone (Zac Freeman) is a struggling artist dissatisfied with the chalk mural he is creating of the Nine Muses on a sidewalk in Venice Beach. When he wants to give up, the Muses come to life and Clio (Ariana Bagley) decides to give him some inspiration. She introduces herself as Kira and disguises herself with roller skates, leg warmers, and an Australian accent (it is a hilariously self-aware parody of the movie). Kira inspires Sonny to create a roller disco that incorporates all of the arts and they find an abandoned theater called Xanadu owned by Danny Maguire (Ricky Parkinson). He is planning to demolish the theater but changes his mind when he sees Kira and remembers Kitty, the woman who inspired him to build Xanadu in the 1940s (Kitty was Clio in disguise). Danny and Sonny form a partnership to restore Xanadu but mayhem ensues when two of Clio's sisters, Melpomene (McKenna Kay Jensen) and Calliope (Janessa Zech), become jealous of her success with Sonny and curse her to fall in love with him which is forbidden by Zeus. I love all of the music in this show (the music by ELO is why I love the movie so much) and I had to try really hard not to sing along with every song (my apologies to everyone sitting around me because I'm not sure that I was entirely successful). I especially loved the performances of "I'm Alive," "Magic," "Suddenly," "All Over the World," "The Fall," and, of course, "Xanadu." However, my favorite was "Evil Woman" (an ELO song that is not in the movie) as Melpomene and Calliope plot against Clio because Jensen and Zech not only have incredible voices but they also have perfect comedic timing. They are so entertaining to watch! My favorite scene in the movie is when Danny, who sees a big band with a trio of female vocalists, and Sonny, who envisions a rock band with synthesizers, describe what Xanadu could be and then their ideas merge to create something epic in the song "Dancin'." The staging of this is fantastic and I think I was giggling the whole time! I also liked the staging for "Whenever You're Away from Me" as Danny reminisces about his time with Kitty because she dances with a younger and older version of Danny. All of the choreography featuring roller skating is absolutely amazing, especially when everyone skates during "Xanadu," and I was so impressed with the entire cast. Freeman and Bagley give incredibly campy performances that had the audience laughing and cheering (I loved it whenever Bagley exaggerated the Australian accent) and the 1980s aesthetic used in the set and costumes (so much neon) is a lot of fun. I had the best time watching this show but, unfortunately, last night was the final performance. Go here for the rest of the season at West Valley Arts (I'm especially excited for Newsies).

Back to the Future at the Eccles

I am not a big fan of adapting popular movies into stage musicals but, since Back to the Future is one of my favorite movies, I thought I would enjoy the Broadway touring production last night at the Eccles Theatre and I did! The musical follows the movie pretty faithfully, with one key change that mostly works, as Marty McFly (Lucas Hallauer) is transported to 1955 after his eccentric friend Emmett "Doc" Brown (David Josefsberg) tests his latest invention, a time machine made out of a DeLorean powered by plutonium. Marty decides to find Doc to help him get back to the future but he inadvertently disrupts the meeting between his parents, Lorraine (Kathryn Adeline) and George (Mike Bindeman), and this puts his own existence in jeopardy. Will Marty be able to get his parents back together? Will Doc be able to get him back to 1985? As with most movie to stage adaptations, most of the songs in this show are contrived and not very memorable (my favorites are "Gotta Start Somewhere," "Something About That Boy," and "21st Century") but it didn't really matter because the production itself is so much fun! The special effects are absolutely incredible, especially when the DeLorean travels to 1955, back to 1985, and then when it flies to June 11, 2026! I actually gasped out loud during these sequences because they are so immersive and I was definitely not alone! The visuals are also a lot of fun and I loved all of Doc's big production numbers, including "It Works," "Future Boy," and "21st Century," because they feature psychedelic projections and dancers dressed in gold lamé haz-mat suits, tuxedos, and futuristic lab coats, respectively. I also really enjoyed the projections used as Doc tries to harness the power of the storm as it hits the clock tower because they replicate the tension during this scene in the movie very well. One of my favorite scenes from the movie is when Marty is chased by Biff on an improvised skateboard through the town square and I wondered how that would be staged. That sequence is actually even more exhilarating in the musical because Biff (Nathaniel Hackmann) chases Marty all over the school and the scene changes happen seamlessly and in the blink of an eye with perfectly executed choreography! The performances are very much informed by those in the movie and Hallauer is incredibly appealing as Marty, Josefsberg is suitably quirky as Doc, and Bindeman is adorably awkward as George but I was most impressed by Adeline because she nails the physical comedy as the love-struck Lorraine and her renditions of "Pretty Baby" and "Something About That Boy" are highlights (she also sounds a lot like Lea Thompson). I didn't love this as much as some of my favorite shows but I definitely had a lot of fun watching it and I recommend getting a ticket (go here), especially to fans of the movie. It runs at the Eccles through June 14.

Bright Star with the JAKS Theatre Company

I was very impressed by JAKS Theatre Company's production of Hadestown: Teen Edition last year so I was very eager to see their version of Bright Star, a favorite of mine, last night at the Regent Street Black Box Theatre. Once again, I thoroughly enjoyed seeing such enthusiastic performances from these talented young performers. After World War II, Billy Cane (Colin West) returns to his hometown of Hayes Creek to see his childhood friend Margot Crawford (Cairi Swenson) but he eventually decides to try writing at a magazine in Asheville for an uptight editor named Alice Murphy (Livy Garner). When the magazine staff teases Alice about her boring existence, she literally transforms back into the wild and rebellious girl she once was in Zebulon during the 1920s and falls in love with Jimmy Ray Dobbs (Dylan Thomas). The narrative goes back and forth between these locations and timelines as Alice learns to deal with heartache and loss and Billy learns the importance of home and the one who really loves him. Some members of the cast are stronger than others but everyone on stage gives it their all and are clearly having a lot of fun. I really enjoyed Garner's performance because her characterization is fantastic, especially her differentiation between the older and younger Alices, and she sings with an incredible amount of emotion in "Please Don't Take Him" (this song always brings me to tears and her rendition was no exception), "I Had a Vision," and "So Familiar/ At Long Last." I also really liked Lauren Hunter as Lucy Grant, because she is completely over the top (almost too much so) but that energy makes her performance of "Another Round" a definite crowd-pleaser, and Caden Feller as Mayor Josiah Dobbs, because his rich baritone voice gives him the gravitas that is needed for "A Man's Gotta Do." However, my favorite vocal performance is from Swenson in "Asheville" (my favorite song in the show) because she imbues it with such longing. The ensemble does a great job with both the exuberant choreography, especially in "If You Knew My Story," "Way Back in the Day," "Picnic Dance," and "Another Round," and the innovative staging, particularly as Billy travels to Asheville in "Bright Star" and as Mayor Dobbs makes a fateful decision on a train in "A Man's Gotta Do (Reprise)." I was also quite impressed with how efficiently they move multiple set pieces on and off stage (my favorite is a rustic wooden cabin). Finally, I love the bluegrass music in this show and I was beyond impressed by the musicians, including Jack Thomas on guitar, Daxton Feller on banjo, Izzie Kewlish on fiddle, and Jacob Stoddard on double bass, because they play live on stage (this was also a highlight of Hadestown: Teen Edition). The audience last night was filled with lots of friends and family members of the cast (I talked to a few of them sitting near me) and they should be very proud because it was a great show. I highly recommend getting a ticket (go here) for one of the six remaining performances (including several matinees) through June 13.

Note:  I also really liked Hunter as Persephone and Feller as Hades in Hadestown: Teen Edition.

Dirty Rotten Scoundrels at Draper Historic Theatre

I was really looking forward to seeing Dirty Rotten Scoundrels at Draper Historic Theatre last night because this show always makes me laugh. Their hilarious production definitely did not disappoint! Lawrence Jameson (Nathan Metcalf), a suave and sophisticated international con man, and Freddy Benson (Ethan Cecil), a two-bit American hustler, both find themselves on the French Riviera. They end up collaborating when Jameson gets in an awkward situation with Jolene Oakes (Madison Twede), an heiress from Oklahoma, but they both take credit when their plan is a success and eventually decide that Beaumont-sur-Mer is not big enough for both of them. They agree that the first one who cons Christine Colgate (Sophie Manzanares), the American Soap Queen, out of $50,000 can stay and the other will leave town. Hilarity ensues when Benson pretends to be a soldier suffering from hysterical paralysis, when Jameson impersonates the famous Viennese psychiatrist Christine hires to cure him, and when Muriel Eubanks (Beth Bollinger), one of Jameson's previous marks, returns to town but who is conning whom? What I enjoy most about this show is all of the physical comedy and this cast does a great job with it. Cecil, especially, is a lot of fun to watch in "Great Big Stuff," "All About Ruprecht," "Ruffhousin' Mit Shuffhausen," and "Love Is My Legs" because he is so over the top and has really funny facial expressions. I also loved Twede's energetic rendition of "Oklahoma" and Bollinger's overly dramatic performance of "What Was a Woman To Do." The ensemble in this show is another highlight and I was very impressed with how well they perform the dynamic choreography in "Give Them What They Want," "Great Big Stuff," "Oklahoma," and "The More We Dance." The costumes are a lot of fun (the ensemble have so many of them) and my favorites are the cowboy and cowgirl outfits in "Oklahoma" and the couture gowns in "Give Them What They Want." Finally, I loved the stage, which is configured as a luxurious resort with marble floors and staircases, chandeliers, and balconies covered with bougainvillea, the set pieces brought on and off stage by members of the ensemble costumed as maids and porters, and all of the projections used to denote various locations. I had so much fun watching this entertaining show ("It was a blast! It was a ball! It was a gas! I loved it all!") and I highly recommend getting a ticket (go here). It runs at the Draper Historic Theatre on Mondays, Fridays, Saturdays through June 20.

Harmony at HCT

HCT is the first theatre company to get the rights to produce Harmony after its run on Broadway so I was really looking forward to seeing this new musical last night. It features music by Barry Manilow with lyrics by Bruce Sussman and tells the true story of a vocal ensemble who found great success in Germany during the 1920s but were forced to disband after the rise of the Nazis. It is one of the best productions I've seen at Hale and I loved it! Josef "Rabbi" Cycowiski (Ric Starnes) reminisces about when his younger self (Landon Horton), Bobby Biberti (Brandon LaMar Buckner), Erich Collins (Anson Bagley), Erwin "Chopin" Bootz (Jonathan Avila), and Ari "Lesh" Leshnikoff (Ben Hahn) answer an advertisement placed by Harry Frommerman (Tanner Sumens), form a six-part harmony group, practice in the empty subway, get their first gig singing back-up for Marlene Dietrich from behind a curtain, get their big break singing at a club (a mishap forces them to go on stage dressed as waiters and this gives them their name the Comedian Harmonists), and achieve international success. At the same time, Rabbi, who is Jewish, falls in love with a Christian seamstress named Mary (Megan Yates), Chopin, who is Christian, falls in love with a fiery Jewish revolutionary named Ruth (Tearza Leigh Avila), and the two couples marry despite the challenges. While the group is on a world tour, the Nazi Party and Adolf Hitler come to power in Germany and they briefly consider staying in New York but Bobby convinces them to return home. Eventually, the group must take drastic steps to protect the three Jewish members in the group and the older Rabbi laments their decision to return to Germany in hindsight because he is the only one left who remembers the Comedian Harmonists. The story is moving and surprisingly funny but, more than anything, it is a powerful reminder of what happens when good men stand by and allow evil to happen. I enjoyed the music, especially "Where You Go" when Mary and Ruth tell their husbands that they will follow them everywhere they go (one literally and one figuratively), and the performances are incredible, particularly the tight vocal harmonies in "Harmony," "Lost in Shadows," "How Can I Serve You, Madame?," "Hungarian Rhapsody 20," and "Stars in the Night." The staging is absolutely riveting and I loved the use of multilevel metal platforms, which are configured and reconfigured throughout the show, in "This is Our Time" as Ruth and her revolutionaries protest with signs and red flags while the group simultaneously celebrates an audition above them, the use of projections in "The Wedding" when a rock is thrown through the synagogue window (this is very dramatic), and the use of archival footage in "Tour of the World" as the Nazi Party comes to power while the group performs (this gave me goosebumps). The choreography is also very compelling and I was particularly struck by the use of silks when the group performs as marionettes in "Come to the Fatherland!" The period costumes, especially the Nazi uniforms and evening gowns cut on the bias, are incredibly striking as are all of the Art Deco elements used in the set design. I was so impressed by every aspect of this production and I cannot recommend it enough! Tickets may be purchased here for performances that run on the Sorenson Legacy Jewel Box Theatre through August 1.

Note:  Don't forget about HCT's loverly production of My Fair Lady on the Young Living Centre Stage through July 11 (go here for tickets).

My Fair Lady at HCT

HCT's production of My Fair Lady is loverly (one of the best I've seen) and it put a huge smile on my face last night! When Professor Henry Higgins (Kelton Davis) and Colonel Pickering (Mark Pulham) encounter a Cockney flower girl named Eliza Doolittle (Lisa Zimmerman) outside Covent Garden, Higgins boasts that he could pass her off as a duchess at the Embassy Ball within six months by teaching her to speak properly. Even though Eliza is a success at the ball, she only becomes a lady when she compels Higgins to treat her like one! I loved every member of this amazing cast! Higgins is kind of a problematic character but Davis portrays him with a glint in his eye and a spring in his step that makes him very appealing in the songs "Why Can't the English," "I'm an Ordinary Man," and "A Hymn to Him" and I loved his poignant rendition of "I've Grown Accustomed to Her Face" as well as his vulnerable delivery of the final line because it really changes the vibe of the ending (in a good way). Zimmerman, who has a beautiful voice, gives an incredibly dynamic performance as Eliza because she is feisty in "Just You Wait," "Show Me," and "Without You," charming in "Wouldn't It Be Loverly" and "I Could Have Danced All Night," and elegant in "The Embassy Waltz." I also really appreciated the gradual change in her accent during "The Rain in Spain" because this makes her transformation more believable (I usually find this to be very sudden in other productions). Duane Stephens is energetic and entertaining as Alfred P. Doolittle and Doug Wadley is absolutely hilarious as the lovestruck Freddy Eynsford-Hill (his version of "On the Street Where You Live," which is my favorite song in the show, is a lot of fun). I laughed out loud at all of their antics. Barta Heiner is an adorable Mrs. Higgins and I really enjoyed her exasperated interactions with Davis. I was impressed by the use of props in the lively choreography, particularly a large flower cart in "Wouldn't It Be Loverly," brooms in "With a Little Bit of Luck," a library ladder in "Just You Wait," and pewter mugs in "Get Me to the Church On Time." I was even more impressed by the spectacular set, especially Higgins' elaborate wood-clad study, which includes wrought iron spiral staircases leading to the second level and lots of amusing details (I tried counting all of the different clocks but eventually stopped at five), and the dazzling chandeliers (that seem to dance along with the waltzing couples) and dramatic staircase at the Embassy Ball. Finally, the costumes are gorgeous and, as expected, the gowns and hats worn at Ascot and Eliza's gown at the Embassy Ball were my favorites (I loved the use of gray rather than the usual black and white in the Ascot costumes). Every aspect of this production is outstanding (it really is one of the best versions of this classic musical that I have seen) and I cannot recommend it highly enough but act quickly (go here for tickets) because many shows are already sold out! It runs on the Young Living Centre Stage through June 11.

No Time for Sergeants at Parker Theatre

Last night I went to Parker Theatre's production of No Time for Sergeants and I was very excited because it had been a really long time since I had seen it (I think it was at HCT many years ago). Will Stockdale (Truman Schipper) is a simple and guileless country bumpkin from rural Georgia who is drafted into the Air Force. He immediately runs afoul of all the other recruits in his barracks except for Ben Whitledge (Zach Harvey) who is desperate for a transfer to the infantry. Will soon starts asking for a transfer, too, and his exasperated commanding officer Sergeant King (Stu Mitchell) punishes him by giving him permanent latrine duty. Will thinks it is a promotion and cleans the latrine so well that King's commanding officer notices him and learns of his excessive punishment. King must now help Will get through the classification exams or face disciplinary measures himself but Will's naivete leads to a series of misadventures. This results in King's demotion to private and his assignment to gunnery school with Will and Ben. Chaos ensues when Will and Ben are mistakenly declared dead by King after their plane gets lost during their first flight. General Bush (Tyler Oliphant) awards them a posthumous medal but, when they suddenly appear at the ceremony, Will and Ben get the transfer to the infantry that they wanted all along so Bush can avoid public humiliation and, in an ironic twist of fate, King is given a promotion to be their commanding officer. This play is so funny (the audience was laughing out loud the entire show which was a lot of fun) and the action is non-stop. The entire cast does a brilliant job with the physical comedy and I especially loved a scene involving a drunken barroom brawl and another chaotic scene aboard a plane being flown by an incompetent crew (I laughed out loud every time the characters screamed in fear). Schipper is incredibly charming as Will (he is basically the straight man in the midst of all of the mayhem) and Harvey is hilariously overwrought as Ben but Oliphant steals the show as the superficial Bush (I loved hearing him practice the same line from his speech over and over). I was very impressed with all of the elaborate stagecraft, including the lighting design, sound design, and projections, used for the plane crash and I especially loved seeing Will and Ben hanging from a parachute. The set is very clever because it consists of riveted metal panels (meant to mimic 1950s military airplanes) that move to reveal the barracks, a latrine, and various offices and the costumes include authentic-looking military uniforms. This was a great show to see Memorial Day weekend and I thoroughly enjoyed the slapstick humor from a simpler time. I highly recommend getting a ticket (go here) for one of the performances on Fridays and Saturdays through June 27.

Fiddler on the Roof at CPT

I went with both of my sisters to see Fiddler on the Roof at CPT last night and we really enjoyed this production. In my opinion, seeing this classic musical is a guaranteed fun night out and I noticed that everyone around me (the theatre was packed) had big smiles on their faces during all of the well-known song and dance numbers. I definitely had to stop myself from singing along with the cast during "Tradition," "Matchmaker," "If I Were a Rich Man," "Sabbath Prayer," "To Life," and "Sunrise, Sunset." I loved the choreography and staging because there are obvious influences from the original Broadway production and the 1971 movie but also some fun new details that keep things fresh, particularly when the women and girls circle around the praying men and boys in "Tradition," when Yente is shown alone in "Sabbath Prayer," when the townspeople come on stage to reprise "Tradition" after Tevye rejects Chava at the end of "Chavaleh," and when the Constable and soldiers escort the townspeople out of Anatevka. As always, my favorite numbers were "To Life" because the Russian dance is very high-energy and exuberant, "The Wedding" because the bottle dance is thrilling, and "Tevye's Dream" because I always eagerly anticipate seeing how Fruma-Sarah will make her entrance (when I played her I came up from Tevye and Golde's bed) and it did not disappoint because she flies and it is pretty spectacular! The set is really beautiful with an elaborate thatched-roof house made of wood that opens up to reveal the interior and other large wooden set pieces that come down from the rafters and in from the wings to become the village inn, Motel's tailor shop, and the railway station. I loved the attention to detail, especially the smoke that periodically comes from the chimney, the barrels inside the inn, and the weathered trees all around the proscenium. The costumes are also very striking and I liked the pops of green and yellow used in the women's dresses and the white tattered gown worn by Fruma-Sarah. The large puppets that feature in "Tevye's Dream" are scary but incredibly cool. Finally, the cast is outstanding! Danny Inkley is a boisterous Tevye who emphasizes the humor in "If I Were a Rich Man" and "To Life" but he is also quite vulnerable in "Do You Love Me?" (Golde is played by his wife Wendy Inkley and their interactions feel very authentic) and absolutely heartbreaking in "Chavaleh" (the crack in his voice brought a tear to my eye). I was also impressed with Jordyn Tracy, Chloe Warnas, and Maren Messerly as Tzeitel, Hodel, and Chava, respectively, because they harmonize beautifully in "Matchmaker." This production is a crowd-pleaser that the whole family will enjoy and I highly recommend getting a ticket (go here). It runs on the Mountain America Main Stage through June 18.

Note:  I find it amusing that the 2026 season at CPT includes both See How They Run and Fiddler on the Roof because my two biggest acting roles to date are Miss Skillon and Fruma-Sarah (I was also in the chorus of Damn Yankees but I haven't seen that performed since my high school did it in 1985).

Les Miserables at Tuacahn Amphitheatre

Before I became obsessed with Hamilton, Les Miserables had a 30 year run as my favorite musical.  I still absolutely love it and try to see it every chance I get so I took a quick road trip to St. George yesterday for a production at Tuacahn Ampitheatre.  It was an incredible experience to see such an epic story performed against the dramatic red rock of the ampitheatre!  I have obviously seen this show many times so I really appreciated several bold changes in the staging, particularly the use of the natural backdrop in the Prologue when the prisoners in the chain gang cut the red rock into blocks using pick axes and the use of real farm animals as Valjean searches the countryside for work.  I was also struck by the inclusion of Young Eponine on the periphery in the scenes between Valjean and Young Cosette because it really adds to her characterization and I was incredibly moved when the women place articles of clothing worn by the students who died on the barricade at the edge of the stage during "Turning" and then when the students rise up from the pit to claim them during "Empty Chairs at Empty Tables" (this song always makes me cry).  I had goosebumps during "Stars" because the stars projected on the red rock are so beautiful and during the final battle on the barricade because the pyrotechnics are pretty spectacular.  I was very impressed with the cast, especially with how Mindy Smoot Robbins as Fantine, Randal Keith as Javert, Kelsey Lee Smith as Eponine, David Toole as Valjean, and Coby Oram as Marius (the understudy) are able to command such a large stage by themselves in "I Dreamed a Dream," "Stars," "On My Own," "Bring Him Home," and "Empty Chairs at Empty Tables," respectively.  The large LED screens feature illustrations reminiscent of the ones used by Victor Hugo in his novel and elaborate set pieces are configured and reconfigured to become the factory and waterfront in Montreuil-sur-Mer, the Thenardiers' inn, the streets of Paris, the barricade, and the sewers.  The period costumes are very much informed by those in the original production but I found the wide-legged trousers worn by the guards and sailors to be very amusing.  This is the biggest show I've seen at Tuacahn (it is even bigger than their 2008 production of Les Miserables) and it is so well-done!  It was definitely worth the four hour drive to see it and I highly recommend getting a ticket (go here).  It is being performed in the Outdoor Amphitheatre at Tuachan in repertory with Disney's Finding Nemo and Grease through October 23.

Disney's Descendants at the Empress Theatre

I remember watching the Disney Channel Original Movie Descendants with my nephew (I thought it was extremely clever and he loved it) so I was really intrigued when I learned that the Empress Theatre would be performing the stage adaptation this season. I was even more intrigued when I learned that the entire cast would include actors who are all over the age of 45! I had the chance to see it last night with my sister and it was incredibly heartwarming to watch a cast perform with so much obvious joy and exuberance! Prince Ben (Scott Sorensen), the son of Belle (Chalese Craig) and the Beast (Carri Baddley), wants to give the children of Auradon's most notorious villains, who are now imprisoned on the Isle of the Lost, the opportunity to attend Auradon Prep so Mal (Diana Sorensen), the daughter of Maleficent (Crystal Ahlemann), Evie (Amy Hallett), the daughter of the Evil Queen (Carri Baddley), Jay (Brad Goodman), the son of Jafar (Brian Sorensen), and Carlos (James Hutchings), the son of Cruella de Vil (Wendy Sorensen), arrive with instructions from their parents to steal the wand belonging to the Fairy Godmother (Stacy Mayren) so they can use it to break the spell keeping them in captivity. Chaos ensues when the four of them have a difficult time interacting with the sons and daughters of their parents' sworn enemies, especially Audrey (Stacy Childs Hutchings), the daughter of Sleeping Beauty, and Chad (Joel Clark), the son of Cinderella and Prince Charming, but their loyalty to their parents is soon tested and Ben eventually shows them that they can choose their own path. The high-energy songs and choreography are so much fun to watch (my favorite numbers are "Rotten to the Core," "Evil Like Me," "Goal," "Ways to Be Wicked," and "Chillin' Like a Villain") and this is mostly due to the fact that everyone in the cast is having the time of their lives channeling their inner teenagers! Their enthusiasm is infectious and the crowd last night definitely responded with gusto which made the entire experience an absolute blast. I especially enjoyed Sorenson as Ben because he has so much boyish charm (he was the most believable teenager), Hutchings as Audrey because she has the perfect mean girl attitude, Goodman as Jay because he has a lot of swagger, and Clark as the dim-witted Chad because he has some hilarious facial expressions and line deliveries.  However, no one is having more fun than Ahlemann because she absolutely revels in the villainy and I laughed out loud practically every time Maleficent appeared on stage. I really enjoyed her rendition of "Evil Like Me" but her maniacal cackling at the end of the second reprise was the highlight of the show for me! I loved the minimal set, with the brightly colored fairy-tale prep school at one end and the dark and dreary graffiti-covered Isle of the Lost at the other end, as well as the costumes, which feature a matching aesthetic (I was impressed by the attention to detail with the Auradon Prep crest on the sweater vests and cardigans and the black feathers on Maleficent's cape). If this show doesn't put a smile on your face I don't know what will! It runs on Thursdays, Fridays, and Saturdays through May 23 and I definitely recommend getting a ticket (go here).

Note:  A huge thank you to the Empress for graciously providing me with tickets to this fun and entertaining show!

Come From Away at PTC

I love the musical Come From Away so much and I have yet to make it through a performance without crying. While the tears flowed once again when I saw it at PTC last night, there were elements of the production that I didn't like. U.S. airspace is restricted in the immediate aftermath of the attacks on 9/11 so 38 international flights without enough fuel to return to their city of origin must be diverted to the airport in the tiny town of Gander, Newfoundland, Canada. The nearly 7,000 stranded passengers almost double the population of Gander but the ordinary townspeople rise to the extraordinary occasion and willingly do whatever they can to provide transportation (which involves the temporary resolution of a contentious strike by bus drivers), food (which involves the suspension of all hockey games to use the ice rink to refrigerate perishables), clothing, shelter, and comfort. An ensemble cast of fourteen play multiple roles, often with just the addition of an article of clothing or prop, to provide the perspectives of both the townspeople and the so-called plane people. Their interactions will restore your faith in humanity, especially when a local woman named Beulah (Mary Fanning Driggs) comforts a passenger named Hannah (Galyana Castillo) when she cannot locate her firefighter son in NYC and when another local named Annette (Jessica Rush) allows Ali (Nathan Andrew Riley), a Muslim passenger who has come under suspicion, to use the library to pray. I also loved it when Bonnie (Angie Schworer), an SPCA worker, sneaks on a plane to give comfort to the animals abandoned on board, including a pregnant bonobo chimpanzee. Everyone is forever changed by the experience and I was, as always, incredibly moved by the powerful messages about compassion, community, and the indomitable human spirit. I love every song in the show but I particularly enjoyed hearing "Prayer," because it incorporates elements from multiple religions to provide a beautiful message of comfort and it always makes me cry, "Screech In," because it is a hilarious ceremony to become an honorary Newfoundlander involving copious amounts of alcohol and a codfish and it always makes me laugh out loud, and "Something's Missing" because it accurately describes the often jarring return to normal life after an intense experience and it always makes me long for the unity felt right after the attacks (especially with all of the division in the U.S. currently). I was also impressed by the performances because the cast does a great job differentiating between all of the characters. The standout for me was Rush because her rendition of "Me and the Sky" gave me goosebumps. What was missing from this production for me was the nostalgia for my native land that this show usually evokes. I especially disliked the set because it is too cold, sleek, and modern in my opinion. It is devoid of all of the quirky charm found in the original Broadway production and there are no visual references to Canada (where are the neon Tim Horton's and Molson Canadian signs?). Also, I don't know what dialect the townspeople are trying to speak but they didn't sound like any Canadian I know. I appreciate that they did try to say Newfoundland like a local but it didn't sound right to my ears because the emphasis should be on the third syllable rather than the second. I recognize that I might be the only one who cares but this production is so nondescript that it could have taken place anywhere and that really bothered this Canadian expat. Even though I didn't love this particular version, I still highly recommend getting a ticket (go here) because the show itself is definitely worth seeing and it is sure to warm even the most cynical heart. It runs through May 9.

Once on This Island at The Ruth

The last show I saw before Covid shut everything down was PTC's production of Once on This Island.  I loved this retelling of The Little Mermaid with Caribbean flair so I was very excited when The Ruth announced it as part of the 2026 season, especially since it is not done very often.  I saw it last night and I think I loved it even more than PTC's version!  A Little Girl (Nahla Fernelius) who lives on an island in the French Antilles is frightened by a storm so a group of Storytellers tell her about another girl on the island who once survived a storm to comfort her. This girl is a peasant named Ti Moune (Blythe Snowden) and she is rescued by Asaka, Mother of the Earth (Aria Love Jackson); Agwe, God of Water (Yahosh Bonner); Erzulie, Goddess of Love (Anya Sulimoni); and Papa Ge, Demon of Death (Beatriz Melo), then adopted by Mama Euralie (Koryn Sobel) and Tonton Julian (Oba Bonner).  She believes that she was saved for a reason and, as she grows up, she prays for the gods to reveal her destiny.  The gods decide to intervene again and, when a grand homme (a descendant of the original French plantation owners and their slaves) named Daniel Beauxhomme (JRay Kuhn) is injured in a car crash as a result, Ti Moune falls in love with him even though a relationship between a peasant and a grand homme is forbidden.  When the gods intervene yet again, Ti Moune sacrifices herself for love but her sacrifice ultimately brings the peasants and the grands hommes together and this is why they tell her story.  I loved the message about the power of love and the power of storytelling to unite a community divided by race and class because it is, unfortunately, very relevant at the moment.  I also really loved the percussive Caribbean music (I am strangely obsessed with steel drums), especially the songs "And the Gods Heard Her Prayer," "Rain," "Pray," "Forever Yours," "Mama Will Provide," "The Human Heart," "Some Girls," and "Why We Tell the Story." The entire cast is outstanding but I was particularly struck by Melo because she is so expressive and fun to watch and Snowden because her singing and dancing are lovely and her performance is incredibly emotional. The choreography by Izzy Arrieta (one of my favorite local choreographers) is an integral part of the storytelling and it is lively, energetic, and absolutely captivating.  The costumes feature vibrant colors and patterns and the set, which divides the stage into the beach (it is made of real sand and water) occupied by the peasants and the multi-level plantations occupied by the grands hommes, just might be my favorite at The Ruth (I loved all of the tropical flowers on stage and all around the theater).  This is a beautiful and powerful show that should not be missed (go here for tickets).  It runs in the Lindsay Legacy Theater through July 3.

Note:  One of my earliest memories as a child is seeing a group playing the steel drums on a street corner in Toronto.  I have loved them ever since.

School of Rock at the SCERA Center for the Performing Arts

I always enjoy seeing a production of School of Rock because it is such a fun and exuberant show with a powerful message about finding your voice despite the pressure to conform. I saw SCERA's version last night and was incredibly impressed by the incredibly talented kids (and adults) on stage! Dewey Finn (Jacob Thompson) is a slacker who is kicked out of his band No Vacancy right before the Battle of the Bands and is fired from his job at a record store. When his best friend Ned Schneebly (Felipe Larrocha), with whom he has been living for several years, is pressured by his girlfriend Patty DiMarco (Sierra Palmer) to make him pay rent, he takes a substitute teaching job at Horace Green Prep School meant for Ned in desperation. He realizes that his students are being suffocated by the expectations of parents who don't understand them so he decides that they need a little rock and roll in their lives. He forms a band with Zack (Noah Huber) on lead guitar, Katie (Afton Largey) on bass, Lawrence (Miles Tanner) on keyboard, Freddie (Simon Maxfield) on drums, and Shonelle (Lillian Walker) and Marcy (Reese Davidson) on backing vocals. He recruits Billy (Watson Lane) to be the band's stylist, James Porter McCormick) as security, Mason (James "Jeb" Buffington) on tech, and Summer (Juniper Martin), the class know-it-all, as the band's manager. He also convinces Tomika (Tessa Jensen), a shy and insecure transfer student, to sing lead vocals with him. The students eventually become more confident so he decides to enter them in the Battle of the Bands but, first, he needs to convince the uptight principal Rosalie Mullins (Camilla Curtis) to let him take them on a field trip. The parents are angry when Dewey's deception is discovered, but the kids ultimately win them over when they hear them play. Thompson gives a fun and energetic performance and he has a great rapport with the kids. I loved all of the young actors, especially Huber, Largey, Tanner, and Maxfield because they play their instruments live on stage and they sound great. They all do a fantastic job singing and dancing in "You're in the Band," "Stick It to the Man," and "School of Rock" and they also have impressive comedic timing, particularly Martin who made me laugh out loud several times (I loved her rendition of "Time to Play"). Curtis also made me laugh in a hilarious scene when she drunkenly sings "Edge of Seventeen" (I always laugh at this because I love the song). The set is one of my favorites for this show. There is a multi-level stage with a giant guitar that lights up as a backdrop and several DJ lighting towers in front. Panels that rotate to become Ned's apartment, a classroom at Horace Green, and the Roadside bar are brought on stage and placed between the towers and several arches descend from the rafters to become a hall at Horace Green (these are used to great effect when the students sneak out of school for the audition). The school uniforms worn by kids are also a lot of fun (I loved the pop of yellow). I had a really great time at this feel-good show and highly recommend getting a ticket (go here). It runs at the SCERA Center for the Performing Arts on Mondays, Thursdays, Fridays, and Saturdays through May 2.

The Drowsy Chaperone at Draper Historic Theatre

Last year I saw The Addams Family and Elf The Musical at Draper Historic Theatre. One of these productions was outstanding and the other one was not so, clearly, I had to see something else as a tie breaker and I chose The Drowsy Chaperone last night. I love this show so much because it is a love letter to musical theatre and its power to transport you to a place where happy endings are possible for a few hours. Man in Chair (Christopher Stockstager) decides to listen to his cast recording of The Drowsy Chaperone, a popular musical from 1928, because he is feeling a little blue. The show comes to life in the middle of his apartment as he listens but he frequently interrupts to provide commentary and occasionally participates in the big production numbers. Mrs. Tottendale (Pam Winrow) and her Underling (Kian Byington) are hosting the wedding between the oil tycoon Robert Martin (Wes Seiler) and Broadway star Janet Van De Graaf (Kellie Seiler), who is giving up her glamorous career for love. Robert is leaving all of the wedding details to his friend and best man George (Gabe Velez) while Janet is relying on her Chaperone (Keri Hughes), who gets drowsy when she drinks, to keep her and the groom apart to avoid bad luck. Broadway producer Feldzieg (Josh Rayburn) wants to prevent his biggest star from leaving his show so he hires a Latin lover named Aldolpho (Matthew Davids) to seduce her in order to stop the wedding, an investor in the Feldzieg Follies is also worried and hires two gangsters (Spencer Bushman and Isaac King), disguised as pastry chefs, to disrupt the proceedings, but a ditzy chorus girl named Kitty (Makayla Porter) takes every opportunity to prove to them that she can take Janet's place. Mayhem ensues until Trix the Aviatrix (Haley Oliphant) provides the happy ending by agreeing to marry four couples on her plane while flying to Rio. I loved the entire cast but the standouts for me were Hughes because she is the ultimate diva in "As We Stumble Along" (I loved how the veteran performer tries to outshine the ingenue in this number), Davids because he is completely over-the-top in "I Am Aldolpho" (I laughed out loud at all of his antics with a cane), Velez because he is hysterically overwrought in "Wedding Bells 1" and "Wedding Bells 2" (this was his same characterization for Buddy the Elf but it is more appropriate in this show), and Stockstager because his facial expressions and mannerisms make him the perfect Man in Chair (especially during his poignant monologue in response to "Love is Always Lovely in the End"). The choreography is fantastic, particularly in "Cold Feets" (I always love to see tap dancing), "Show Off" (it was clever to have Janet rise up from a trap door in the encore), "Toledo Surprise," "Bride's Lament," and "I Do, I Do in the Sky." It is hilarious every time the actors freeze (in some very elaborate poses) when Man in Chair stops the record and when they repeat the choreography over and over again when it has a scratch. The set of the apartment is ingenious and the cast utilizes the furniture very well for their entrances and exits (my favorites are when George emerges from one of the lower cabinets and when the Chaperone appears in a Murphy bed). The costumes are great because they include some fun details, such as the two cardigan sweaters worn by Man in Chair, the plaid plus fours with argyle socks and sweater vests worn by the gangsters, and the spats worn by the Underling. I loved everything about this production so you never know what you are going to get with community theatre! The show runs Mondays, Thursdays, Fridays, and Saturdays through May 16 and I highly recommend getting a ticket (go here).

Note: I loved Stockstager but my favorite Man in Chair is Jonathan Crombie (better known as Gilbert Blythe in Anne of Green Gables) when he appeared in the Broadway touring production. Sigh!