Pride and Prejudice at the Grand Theatre

I absolutely adored the adaptation of Pride and Prejudice by Melissa Leilani Larson that I saw at HCTO last year so I was really excited to get to see another production at the Grand Theatre last night.  It was just delightful!  This adaptation does not include everything from the novel by Jane Austen and there are subtle changes in characterization but I think it brilliantly captures its essence in a way that feels very fresh and very funny (the crowd was laughing out loud all night).  When Mr. Bingley (Alex Smith), a single man in possession of a good fortune (there is a hilarious spoof on this famous opening line), lets Netherfield Hall, Mrs. Bennett (Liz Whittaker) immediately sets her sights on him as a possible husband for one of her five daughters.  Bingley falls in love with the beautiful Jane (Lauren Pope) but her sister Elizabeth (Niki Rahimi) takes an immediate dislike to his friend Mr. Darcy (Gordon Dunn) because he is so aloof and disdainful.  Elizabeth must overcome her prejudice and Mr. Darcy must overcome his pride for them to realize that they belong together.  Last night I was really struck by how well the letters written between characters are used to advance the narrative instead of dialogue, especially Jane's visit to Pemberley, without losing any impact and I enjoyed seeing the characters pantomime what is happening in the letters on large platforms upstage while they are read aloud.  Every member of the cast is very well-suited to their role but I especially enjoyed how uptight Ellie Otis is as Mary, how histrionic Whittaker is as Mrs. Bennett, and how goofy Smith is as Bingley.  Rahimi and Dunn (who is especially swoon-worthy) have great chemistry when they are sparring back and forth and Darrin Burnett steals the show as Mr. Collins (I was laughing so hard I couldn't breathe when he was dancing at the Netherfield Ball, when he dropped to his knees while proposing to Elizabeth, and when he chased after Lady Catherine's carriage).  The staging is a bit different from HCTO because, instead of a small and intimate thrust stage, the Grand has a large proscenium stage but I really liked how they kept the minimal vibe with modular cubes made with sheets of patterned plastic that form a multi-level platform with some that are also moved and reconfigured to form multiple locations.  I also really loved the framed silhouettes of the characters, made from the same patterned plastic, that are hanging in the background (there are new silhouettes when the relationships change in the play).  The blue, pink, purple, and turquoise lighting looks very dramatic projected on a cyclorama upstage as well as reflected in the plastic used in the cubes.  Finally, the period costumes are beautiful (I love those empire waists) but I wish that Caroline Bingley's dress had been more elaborate to denote her higher socio-economic status.  This show is a really fun way to spend an evening and I highly recommend getting a ticket (go here) during its run through June 8.

Natasha, Pierre & The Great Comet of 1812 at PTC

I love Russian literature and musical theatre so I have wanted to see Natasha, Pierre & The Great Comet of 1812 for a very long time. I finally had the chance last night at PTC and it was even better than I was anticipating!  It is an adaptation of a 70-page section of War and Peace by Leo Tolstoy and, like most Russian novels, it contains a large cast of characters (with titles, given names, patronyms, and nicknames) that can be hard to remember. However, the "Prologue" introduces them by telling the audience that Andrey (Bennet Chew) isn't here, Natasha (Ali Ewoldt) is young, Sonya (Melanie Fernandez) is good, Marya (Mary Fanning Driggs) is old-school, Anatole (Aleks Pevec) is hot, Helene (Ginger Bess) is a slut, Dolokhov (Justin Luciano) is fierce, Mary (Lucy Anders) is plain, Bolkonsky (Edward Juvier) is crazy, Balaga (Edward Juvier) is just for fun, and Pierre (Kevin Earley) is bewildered, awkward, rich, and unhappily married. If audiences still need help with the story (most Russian novels have complicated plots that usually involve a letter and a duel), the "Prologue" also suggests reading the program to learn about Natasha's scandalous romance with Anatole while her betrothed Prince Andrey is fighting in the Napoleonic wars and about Pierre's existential crisis. The innovative score, which is performed on stage by various cast members who augment the orchestra in the pit, is a combination of pop and Russian folk and classical music and I loved every single song but my favorites were "Natasha & Anatole" and "Charming" because the percussion is so much fun. The staging of this show is absolutely brilliant because a row of seats has been removed to allow some of the action to take place in the middle of the audience and many of the entrances and exits also happen from the audience. I particularly loved the staging for "The Opera," because the opera is sung very dramatically while the characters are shown watching it and then it is pantomimed when the characters sing about it, "The Duel," because the Russian dancing during the boisterous drinking scene happens in the audience, and "Balaga," because the troika is so clever (I loved the horse puppets) and is eventually driven through the audience. The multi-level set is incredibly opulent with an elaborate gold leaf pattern on the red walls, multiple chandeliers, gilded frames filled with art, and lots of interesting openings to facilitate the comings and goings of characters to and from various locations. Having Pierre's desk (with him sitting at it most of the time) on stage during the whole show is very effective because it implies that he is just an observer in all of the drama until he is called upon to intervene. The entire cast is outstanding but I especially loved Ewoldt and Earley because they both have moments that gave me goosebumps, "No One Else" for Ewoldt and "Dust and Ashes" for Earley, and I also enjoyed Pevec because he is hilarious. PTC always closes the season with a big production but they have outdone themselves with this show and I cannot recommend it enough! I loved it so much I want to see it again! It runs through May 25 (go here for tickets).

Note: Be sure to go early for Pierre's Parlor in the lobby. This includes pop-up shops with appetizers, desserts, and themed mocktails for purchase one hour before the show!

Evita at the Empress Theatre

I was really excited to see a production of Evita at the Empress Theatre last night because, even though it is one of my favorite musicals, I hadn't seen it in a really long time. Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, the story follows Eva Peron (Sophia Morrilla Mancilla) on her journey from impoverished teenager, to ambitious actress in Buenos Aires, to wife of military leader Juan Peron (Ben Tutor), to first lady of Argentina, and, finally, to sainthood as told by the fictional character of Che (Armando Serrano Huerta) who serves as both the narrator and a representative of the working class who provides commentary on Eva's character and actions. I really enjoyed Mancilla's performance because, not only does she have a beautiful voice, but her characterization of Eva is multi-layered. She brilliantly portrays the young girl desperate to escape her circumstances in "Buenos Aires," the scheming actress willing to manipulate her way to the top in "Goodnight and Thank You," the seductress in "I'd Be Surprisingly Good for You," the power-hungry mastermind in "A New Argentina," the passionate leader seeking adulation in "Don't Cry for Me Argentina," the superstar in "Rainbow High," the defiant survivor in "Waltz for Eva and Che," and the emotional invalid trying to come to terms with her imminent death and legacy in "You Must Love Me" and "Eva's Final Broadcast" with subtle gestures and facial expressions and I could definitely tell that this role meant a lot to her. Huerta is incredibly charismatic and energetic as Che and his interactions with Mancilla are a highlight. I also liked that he is costumed as a descamisado rather than a military leader. Tutor showcases both Peron's gravitas and vulnerability and I especially loved his rendition of "She Is a Diamond."  The ensemble is also very strong in this production. It is an intimate theater with a small cast so I could really hear individual voices and I was blown away by the talent! The choreography is really fun to watch, particularly the tango in "On This Night of a Thousand Stars" and I loved the clever use of a card game in the staging of "The Art of the Possible" and the dramatic marching in formation during "Peron’s Latest Flame."  The stage is dominated by the facade of the Casa Rosada, complete with an imposing balcony that is put to good use in "Don’t Cry for Me Argentina," with minimal pieces brought on and off stage by the ensemble and the period costumes are very effective in evoking a specific time and place.  Finally, I loved the use of the red ceibo flower as a recurring motif symbolizing strength.  I highly recommend this stirring production which runs through May 25 (go here for tickets).

Note:  I became a fan of this musical when I saw Elaine Paige, who originated the role of Eva Peron in the West End production of Evita, perform "Don't Cry for Me Argentina" in concert with the Utah Symphony many years ago!

The Time Machine at HCT

Last night I went to Hale Theatre for the world premiere of The Time Machine, an original work by local playwright Michael D. Fox inspired by the novella of the same name by H.G. Wells. The premise is an interesting one and the sets, projections, and special effects are very impressive but, unfortunately, the narrative is a mess. Fifteen-year-old Skye Mason (Mariah Grace Bowman) opens a mysterious package meant for her grandmother Helene Briggs (Lori Rees) and discovers a puzzle box containing a handwritten manuscript of The Time Machine by H.G. Wells. Helene panics when she sees the manuscript because she believes it is a desperate message across time telling her that she is in danger. She reveals that the story in the manuscript is real and that it was inspired by her travels to the future in a machine of her own invention. A young Helene (Amber Dodge) travels to the far future and returns to 1888 with a powerful source of energy stolen from a savage group known as the Morlocks. Fearing what use might be made of such a powerful object she seeks advice from her friend Gregory Whitman (Kaden Caldwell) and her fiance H.G. Wells (Dallin Suman). She ultimately decides that she should take the power source to the future and hide it and, since she cannot go back to a specific time and place more than once, she stays in 1988 and makes a life for herself. However, the message from Wells sends her and her granddaughter on a journey through time to keep the power source safe from someone with plans to abuse it. The way the original novella is integrated into a new story is clever but I found it really convoluted (lots of overly complicated exposition about time travel), hard to follow (lots of jumps between timelines and relationships between characters that are not very explicit), and inconsistent (there are a few elements that did not make sense to me). I definitely think this could have used another draft before it was performed for an audience (I usually do not have this much trouble following a plot). What really impressed me about this production, however, is the set!  I was intrigued by it the moment I took my seat because it is made up of large geometric panels that move to form concentric circles through which different set pieces (including an elaborate time machine) move on and off stage and on which various images are projected. I especially loved the clock motif that is used in many of the projections. The lighting design is very dramatic, particularly the lightning effects that happen when the time machine travels, and so is the score (which was composed by fifteen-year-old Cameron Dietlein!). Once again, Hale delivered on the style without much of the substance and I was left feeling underwhelmed.

Note:  I have only really loved one production out of the four I've seen at Hale this season.

Frozen at Tuacahn Amphitheatre

Yesterday I left on a quick road trip to St. George to see Frozen at Tuacahn Amphitheatre.  Tuacahn is the first regional theatre in the U.S. to be given permission by Disney to produce this musical and it was spectacular!  I have seen the Broadway touring production and I think this version might be better!  A young Elsa (Harper Griffith) and a young Anna (Bentley Nulia) have fun building a snowman together but, when Elsa accidentally freezes Anna with her mysterious powers, the King and Queen tell her that she must hide herself away from Anna and the rest of Arendelle.  When the King and Queen are lost at sea, Elsa (Cayleigh Capaldi) must open the doors of the castle for her coronation.  She loses control of herself, with devastating consequences, when Anna (Daisy Wright) requests permission to marry Hans of the Southern Isles (Preston Taylor) and she flees Arendelle.  Anna follows her, hoping to save Arendelle from the endless winter, and is aided by an ice harvester named Kristoff (Joe Caskey) , his reindeer Sven (William Bishop), and Olaf (Kyle Kemph), the snowman she built with Anna when they were girls.  Elsa fears that she is a monster and Anna is injured again but it is her ability to love that ultimately saves Anna and Arendelle.  Tuacahn is known for its big productions and this is the most ambitious one yet!  The large set pieces, special effects, and projections are absolutely amazing!  I knew that the song "Let It Go" would probably be a highlight but I was not prepared for how epic it was.  There were moving set pieces that looked like giant icicles and projections of snow and ice on large LED panels in sync with all of Capaldi's dramatic gestures and her costume change happens in an instant (people in the audience gasped).  It seemed to snow in the entire amphitheatre and the song, which featured an incredibly powerful performance by Capaldi, concluded with fireworks!  I also really loved Capaldi's renditions of "Dangerous to Dream," "Monster," and "I Can't Lose You" with Wright because she has such a beautiful voice filled with so much emotion.  Wright's performance is also outstanding and I loved her voice, as well, but her physicality was so much fun to watch, especially in "Love is an Open Door" and "Fixer Upper."  The entire cast is fantastic (I was impressed with Caskey because he is the understudy) and it features a strong ensemble who made me laugh at all of their antics during the choreography in "Hygge."  The costumes are slightly different from those of the movie and the Broadway production but they are recognizable and gorgeous.  I also loved the puppets for Sven and Olaf.  This show is magical and I am so glad that I got to see it!  It is being performed in repertory with Anastasia and Jersey Boys through the middle of October (go here for tickets).

The Hello Girls at HCTO

My great-grandfather John Johnston emigrated to Canada in his late teens but, when war was declared between England and Germany, he returned home to Scotland and enlisted in the Gordon Highlanders.  He was wounded at the First Battle of Ypres and was left on the battlefield for dead.  His brother returned later hoping to retrieve his body and discovered that he was still alive.  I loved hearing all of these stories when I was a child and, consequently, World War I has always held a particular fascination for me.  Many of my favorite books, movies, and theatre productions deal with the subject and now I can add the musical The Hello Girls to that list.  I had the chance to see it at HCTO last night and it is one of the best shows I've seen this year!  After the U.S. enters World War I in 1917, General Pershing (Reese Phillip Purser) is frustrated because the male telephone operators in the Signal Corps do not know French and are much slower than the women who work for Bell Telephone back home.  He tasks Captain Joseph Riser (Dallin Bradford) with recruiting a unit of bilingual women to join the American Expeditionary Forces in France.  Grace Banker (Megan Heaps), a no-nonsense supervisor at Bell, Suzanne Prevot (Kennedy Bradford), Grace's adventurous best friend, Helen Hill (Emily Paxman), an inexperienced farm girl from Idaho, Bertha Hunt (Shannon Eden), the wife of a soldier already serving overseas, and Louise LeBreton (Makenna Ashby), an underage French woman who has lived in the U.S. for several years, are among those selected for the first group stationed at the AEF headquarters in Chaumont.  These operators overcome many hardships and ultimately help turn the tide of the war.  What I loved most about this story is how inspiring it is.  These women had to fight just to be allowed to join the Army ("We Aren't in the Army"), they had to work harder than their male counterparts to prove themselves to their commanding officer ("Riser's Reprimand"), they had to fight to be allowed to go to the front ("Twenty"), and then they had to fight for over sixty years to receive the benefits they deserved as veterans ("Making History").  The music is incredibly stirring and my favorite songs were the big anthems "Answer the Call," "Hello Girls," "Lives on the Line," and "Making History."  The backdrop features wooden panels set with rows of lights to represent the switchboards used by the women (upon which period photos and videos are projected) and the set includes multi-level wooden platforms connected by wooden ramps to represent various locations.  The dynamic choreography uses this space very well.  I especially loved a sequence when the soldiers at the front reach their hands towards the women at their switchboards during a dramatic battle to show how much of a lifeline they are.  It gave me goosebumps. I also loved the authenticity and attention to detail in the uniforms worn by both the soldiers and the women, especially the puttees, the helmets, and the haversacks carrying the gas masks (I am such a nerd for knowing World War I uniforms).  Finally, the cast is superb and they do a brilliant job in bring these forgotten historical characters to life.  Heaps, one of my favorite local actors, was the standout for me because she brings so much emotion to the role, particularly in her scenes with Bradford as she fights for more opportunities.  I always really appreciate it when a theatre company programs something new, especially when it is based on a subject of interest to me, and I loved everything about this production.  I highly recommend getting a ticket (go here) during it run through June 1.

May We All at HCT

Last night I had a chance to see May We All, a new jukebox musical featuring songs by Brooks & Dunn, Chris Stapleton, Dolly Parton, Florida Georgia Line, Johnny Cash, Kacey Musgraves, Keith Urban, Kenny Chesney, Little Big Town, Loretta Lynn, Miranda Lambert, Reba McEntire, Sara Evans, Tim McGraw, and Zac Brown Band, and, despite a really cheesy story, some exaggerated performances that feel more like caricatures than real people, and a genre of music that I usually dislike, I enjoyed it a lot more than I thought I would (I almost didn't go because I thought I would hate it). Jenna Coates (Dawn Deitlein) returns to her hometown of Harmony, Tennessee after struggling to pursue her dream of becoming a country music star in Nashville for two years.  However, going home again is not as easy as she expected because Harmony is facing a hard economic future, her parents Crystal (Adrien Swenson) and Harley (Brock Harris) and her sister Kylie (Savannah Carrasco) are hurt that she has seemingly abandoned them for fame and fortune, her best friend Liz (Libby Ferguson) is struggling with the loss of her brother, and her ex-boyfriend Dustin (Nathan Bowser) is seeing someone new (Teaira Burge) who just happens to want to bring a big box store to Harmony. She eventually realizes how important her friends and family, and Dustin, are to her and that the best way to help Harmony is to bring the music back. However, what will happen when her biggest Nashville dream suddenly comes true? The story follows the plot of every Hallmark movie ever made (which is not necessarily a bad thing but I am not a fan) so I didn't find it very compelling. I also didn't like the portrayal of some of the characters because the performances (especially those of Swenson and Harris), the costumes, and the hair really lean into stereotypes (to be fair I don't really know many people from this area of the country but it seemed a bit overdone for laughs to me). I am not a big fan of country music but, to my surprise, the musical performances are what I enjoyed the most. An insanely talented band, including Kelly DeHaan on keyboards, Eric Noyes on keyboards, Memphis Hennesy on guitar, Bryan Hague on guitar, Davin Tayler on bass guitar, Julie Beistline on fiddle, and Todd Mitchell on drums, are located on stage in the wings and they sound great! The female leads are also outstanding, particularly Deitlein and Ferguson. I loved Deitlein's performance of "Born to Fly," "Play Something Country" with Ferguson, "Can't Go Back" with Bowser, "Rainbow" with Carrasco, and "Back to My Boots" (an original song by Florida Georgia Line's Brian Kelley and Tyler Hubbard) with the company.  As always, the set is phenomenal and I loved the use of large wooden panels suspended from the rafters for projections and live feeds during the musical numbers. This wasn't really my cup of tea but I'm glad I saw it and I'm sure fans of country music will absolutely love it! This runs on the Young Living Centre Stage through June 8 with lots of tickets (go here) available.

Come From Away at the Eccles

I was able to see Come From Away the last time the Broadway touring company made a stop in SLC and I loved it so much!  The only time I stopped crying was when I was laughing out loud!  I was so happy for the chance to see it again last night and my response was pretty much the same because not only is it a touching and entertaining true story about the power of community and the indomitable human spirit but it is also makes me feel incredibly nostalgic for Canada (all of the pop culture references made me smile).  After the 9/11 attacks, U.S. airspace is restricted and 38 international flights have to 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 townspeople willingly do everything they can to provide them with food, clothing, shelter, and comfort.  This show features an outstanding ensemble cast of twelve who seamlessly, with just the addition of a article of clothing or a prop, play multiple roles to tell the stories of both the townspeople and the stranded passengers and crew.  My favorites involve a local woman named Beulah (Kristin Litzenberg) comforting a passenger named Hannah (Candace Alyssa Rhodes) when she cannot locate her firefighter son in New York, two lonely passengers, Diane (Molly Samson) from Texas and and Nick (Stanton Morales) from England, who begin a relationship after being thrown together, and a member of the local ASPCA (Kathleen Cameron) who sneaks on board the empty planes to care for the animals left behind (including a pregnant bonobo chimpanzee).  I love all of the music in this show but my favorite songs are "Prayer" because it incorporates elements of multiple religions into a beautiful message of comfort, "Screech In" because it is a hilarious ceremony to become an honorary Newfoundlander involving copious amounts of alcohol and a codfish, and "Something's Missing" because it perfectly captures that hollow feeling I remember in the days after the attacks (I also have to give a shout-out to a rendition of "My Heart Will Go On" during an impromptu karaoke session).  The set is very minimal but it is impressive how just a few tables and chairs are quickly configured to represent the airport, buses, planes, the legion hall, and emergency shelters and I loved how the lighting design portrays the fear and confusion of the passengers as they arrive in Gander in "Wherever We Are" and "Darkness and Trees."  This is a show that will restore your faith in humanity and I highly recommend it (just bring tissues because everyone around me was also crying).  There are four more performances at the Eccles Theatre through Sunday, April 28 (go here for tickets).

Fiddler on the Roof at the Terrace Plaza Playhouse

The musical Fiddler on the Roof is an old favorite of mine and I honestly don't think I will ever get tired of seeing it (I have seen it so many times I have to stop myself from singing along to every song). Last night I saw the second of three productions of this show that I have scheduled this year at the Terrace Plaza Playhouse and it was delightful. Tevye (Duane Beesley) is a poor Jewish dairyman living in the small village of Anatevka in Tsarist Russia. He and his wife Golde (Logan Peterson) cling to their traditional way of life as a protection from the harsh realities of life until their three oldest daughters, Tzeitel (Bria Snow), Hodel (Candra Young), and Chava (Daphne Dixon), push against these traditions when it is time to find a match. This show features a large ensemble cast and they are utilized very well in the small space, especially in "Tradition," "Sabbath Prayer" (I loved the different groups of families located all over the theater), "Sunrise, Sunset," and "The Rumor" (having the action move around the different areas of the stage as the rumor spreads is really effective). Not only is the ensemble used very well but they do a really good job with the choreography, particularly in "To Life" and in the wedding scene (I always love the bottle dance). There was a tiny little boy who was concentrating so hard on the choreography in "Tradition" and I overheard one of the actors on stage near me whisper, "He did it!" This is why I love community theatre! The main cast is also outstanding. Beesley is much more soft-spoken than other Tevyes that I have seen but this made his version of "Do You Love Me?" with Peterson even more endearing and his version of "Little Bird" even more heartbreaking. Peterson is one of the sassiest Goldes I've seen and her facial expressions are hilarious. Other standouts for me are Carla Lambardo Bambo as Yente, Ethan Snow as Motel, Alex Young as Perchik, and Kelsey Porter as the Fiddler (she is integrated into the story a lot more in this production). My favorite part of the show was The Dream Sequence because Fruma-Sarah (Abbie Webb) suddenly emerges from the middle of Tevye and Golde's bed. I was laughing out loud because that was exactly how I appeared when I played Fruma-Sarah and it brought back so many fun memories (one night a little old man was so shocked when I suddenly appeared that he screamed out loud). The elaborate sets for Tevye's house (interior and exterior) and barn are impressive and I also liked all of the smaller set pieces, such as the village inn, Motel's tailor shop, and the railway station, that are located on the platforms on either side of the stage. I firmly believe that seeing all of the old favorites, like Fiddler on the Roof, when I was young is why I love musical theatre to this day and I really encourage people to take advantage of all of the many opportunities to see community theatre performances in the Salt Lake area. This production runs on Mondays, Fridays, and Saturdays through June 1 (go here for tickets).

Timpanogos Community Theater's The Pirates of Penzance

Last year I was so impressed by Timpanogos Community Theater's production of The Sound of Music that I immediately vowed to come back for another show. I finally made good on that promise by seeing The Pirates of Penzance last night and I'm sorry that I waited so long because I really enjoyed myself! It is one of the funniest versions of this comedic operetta that I have ever seen! Frederic (Adam Moore) has reached his 21st birthday and wishes to leave the band of pirates to whom he has been mistakenly apprenticed. After leaving the pirates, Frederic meets Major-General Stanley (Brett Hansen) and his daughters, falls in love with the youngest daughter Mabel (Kyra Fowler), and enlists the Sergeant of Police (Aaron Bone) and his constables to arrest the pirates. Chaos ensues when the Pirate King (Aaron Williams) and Ruth (Vivian Mathias), Frederic's former nursemaid, tell him that he was born during a leap year and, since he has only had five birthdays, he must continue to serve his apprenticeship. The set is quite simple, consisting of a ship, the seaside, and a graveyard (there is also an amusing miniature ship that is used several times), and the costumes are a lot more straightforward than in other productions of this show that I have seen (the Major-General does not even have any medals) but it matters not because the comedy comes from the brilliant staging, choreography, and performances without having to rely on sight gags. I was laughing from beginning to end at the physicality in all of the scenes but my favorites were Frederic and Ruth's interactions "Oh! false one, you have deceiv'd me" when he learns that she is not as beautiful as she has claimed to be, Frederic hiding in plain sight from the daughters in "Climbing over rocky mountains," when the daughters feign disinterest in Frederic during "Oh, is there not one maiden breast" (Ciara Hulet's facial expressions killed me), when the daughters keep moving closer to overhear Frederic and Mabel in "How beautifully blue the sky," when the pirates and daughters dramatically gasp for breath during "I am the very model of a modern Major-General," and when the constables and the pirates hide in plain sight from the Major General in "Hush, hush! not a word." The ensemble, who all sing and dance as pirates, daughters, and constables, is outstanding and so much fun to watch and I also loved Fowler's beautiful rendition of "Poor wand'ring one" and Williams' enthusiastic version of "Oh! better far to live and die." My favorite performance, however, was that of Moore because he is incredibly appealing as Frederic! He has a beautiful voice, especially when he sings "Stay, Fred'ric, stay," "Ah, leave me not to pine," and "Oh, here is love, and here is truth" with Fowler, but his comedic timing coupled with his earnest expression (and rosy cheeks) is enchanting! Hurrah for this production for putting a big smile on my face! It runs at the Valentine Theater on Mondays, Thursdays, Fridays, and Saturdays through May 4 and I highly recommend it (go here for tickets).

Big Fish at the SCERA Center for the Performing Arts

I have seen the musical Big Fish many times (it is very popular in Utah) but my favorite production just might be the one I saw last night at the SCERA Center for Performing Arts because it is so heartwarming! Now that Will Bloom (Bryson Smellie) is about to become a father he laments the fact that he doesn't know his own father Edward (Mark Gordon) because of all the outlandish stories he has always told him about his life. These include having his fortune told by a witch (Adrienne Hansen) in a swamp, learning how to swim from a mermaid (Shelby Horton), going on the road with a giant named Karl (Rob Crockett), joining a circus owned by a werewolf named Amos (Samuel Benson), wooing his future wife Sandra (Christie Gardiner) with daffodils, and thwarting an assassination of a general (Drew Christensen) during the war. When Will learns that Edward is dying of cancer he returns home to attempt a reconciliation with him and, after a Wild West confrontation between the two of them, he discovers that the truth about his father is more extraordinary than the stories. Gordon is the best Edward that I have ever seen because he portrays his zest for life with an exuberance that is palpable but he is also incredibly affecting in his scenes with Smellie as a father who desperately wants his son to be proud of him and in his scenes as a dying old man hoping that he is leaving a lasting legacy behind. He made me laugh and cry and think about all of the stories my own dad used to tell. Smellie is also outstanding because he plays Will's journey from exasperation with his father to understanding him with so much emotion, especially in the scene with Jenny Hill (Anya Young Wilson) and in the song "What's Next." Gardiner has a beautiful voice and her renditions of "Two Men In My Life" and "I Don't Need a Roof" were also highlights for me. I really love the songs that bring Edward's imaginative stories to life and the costumes and choreography in this production are so fun and whimsical, particularly in "I Know What You Want" with the witch, "Favorite Son" with the townspeople of Ashton, "Closer to Her" with the circus (I laughed out loud at the elephant and the firing of the cannon is so fun), and "Red, White, and True" with the USO (the tap dancing by the ensemble is impressive). The set is very simple with various pieces used to create vignettes (Will's bedroom, Edward's bedroom, hospital rooms, the front porch, etc.) brought on and off the stage by the ensemble but the backdrop used for "Daffodils" is a show-stopper (literally). The use of projections is very effective, especially the different images introducing all of the characters in "Be The Hero" and recapping them in "What's Next." This production reignited my love for this show (which was starting to wane after seeing it so many times) and I would definitely recommend getting a ticket (go here). It runs at the SCERA Center for the Performing Arts on Mondays, Thursdays, Fridays, and Saturdays through May 4.

Shakespeare in Love at West Valley Arts

Last night I went to see the stage adaptation of the movie Shakespeare in Love at the West Valley Performing Arts Center and I absolutely loved it! William Shakespeare (Josh Egbert) has writer's block and the deadline for his new play, which he has promised to both Philip Henslow (Stephen Kerr) and Richard Burbage (Joseph Spear), is fast approaching. He desperately needs inspiration and he finds it when a wealthy merchant's daughter named Viola de Lesseps (Jillian Joy) disguises herself as Thomas Kent in order to fulfill her dream of performing on the stage, which is illegal for women in Elizabethan England, and wins the role of Romeo in his unfinished play. When Will discovers that his talented leading man is really the woman he wooed on a balcony with the help of fellow playwright Kit Marlowe (Colton Ward) and when Viola discovers that Will is really her favorite playwright, they begin a passionate affair which is complicated by the marriage her father has arranged with Lord Wessex (Tyler Roberts). Art imitates life as their doomed love inspires Romeo and Juliet. I think this story is incredibly witty and clever (even if it takes liberties with historical accuracy) and I loved all of the references to Romeo and Juliet and other Shakespeare plays as well as the antics surrounding multiple mistaken identities and the backstage shenanigans at competing theatre companies. Egbert and Joy are outstanding as the leads and have tremendous chemistry with each other. Their performance of the final scene in Romeo and Juliet is absolutely heartbreaking and I had a tear in my eye (especially since it has a double meaning because of their imminent separation). I also really enjoyed the hilarious ensemble cast who portray the actors in Shakespeare's theatre company, especially Eliyah Ghaeini as the over-the-top actor Ned Alleyn who plays Mercutio, Angel Martinez as the actor Nol who plays Benvolio and takes every opportunity to display his prowess for fight choreography, and Sofia Paredes-Kenrick as the actor John Webster who is jealous when Thomas Kent is cast as Romeo. Speaking of choreography, this production features an intricate dance sequence at Viola's ball that is very well done as well as some fast-paced and highly entertaining stage combat. The use of original music, performed by various cast members, adds a lot to the Elizabethan setting as do the elaborate period costumes, particularly Queen Elizabeth's (Sonia Inoa-Rosado Maughan) gown. Finally, I was really impressed with the set, which is comprised of an elevated wooden platform made to look like a theatre, and the lighting design, consisting of a large rose projected on the stage and the outline of Shakespeare's writing projected during key moments. I really loved every aspect of this production and I highly recommend it (go here for tickets). It runs Thursdays, Fridays, and Saturdays through May 4.

Bitter Lemon at Plan-B Theatre

I loved Melissa Leilani Larson's adaptation of Pride and Prejudice so I was very excited to see her take on a minor character from Macbeth (one of my favorite Shakespeare plays) in Plan-B Theatre's production of Bitter Lemon last night. It is absolutely brilliant and I loved it just as much as the earlier play. Lady Helen Macduff (Yolanda Stange) has been alone for an indeterminate amount of time in a liminal space between life and the afterlife longing to be reunited with her children. She is suddenly joined by Finlay Macbeth (Bobby Cody), the man she holds responsible for her death and the death of her children, and she is justifiably angry. At first he doesn't remember her or the circumstances of his death but, when his memories do return, they are of their romantic relationship from long ago. As more memories return, they engage in a tense back and forth as they try to figure out why they have both been left in purgatory together and what they can do to escape. As Helen lashes out at Finlay, he blames her for turning him into who he became by deserting him and pushing him into the arms of the ambitious Marion and then he blames her husband Andrew Macduff (I love that all of the characters now have first names) for betraying him before he finally takes responsibility for his actions and begs her to forgive him. It is very intriguing when marginalized characters from literature are reimagined and given some agency and this play presents Lady Macduff as not just a strong character but one that is integral to the whole narrative. Stange is outstanding at portraying her righteous anger and her grief but I also enjoyed seeing her eventually come to the realization that she must forgive her enemy for her own sake (the final moment is so dramatic). Cody plays Macbeth as a charismatic leader who was justified in doing what he did because he believed that would be a better king and it is fascinating to see that facade break down bit by bit as the play progresses. The moment he asks for forgiveness is so affecting. The minimal set, featuring a series of neutral panels as a backdrop and randomly placed stone blocks which are used as seating, makes the subtle changes in the lighting even more dramatic and the sound design, which reminded me of white noise, is quite unsettling. I wish that the costumes were period rather than contemporary but this did not detract from my enjoyment in the least. This is an incredibly powerful and thought-provoking piece about the nature of forgiveness and I highly recommend getting a ticket. It runs in the Studio Theatre at the Rose Wagner Performing Arts through April 28 with Thursday and Friday evening performances and Saturday and Sunday matinee performances (go here).

Of Mice and Men at Parker Theatre

Last night I went to a stage adaptation of John Steinbeck's Of Mice and Men at the Parker Theatre and I loved seeing this American classic come to life in the very capable hands of this theatre (I have yet to see a performance here that I haven't enjoyed). George Milton (Lucas Charon) and Lennie Small (Brinton M. Wilkins) are migrant workers trying to save money for their own piece of land with a cow, pigs, chickens, and, most importantly, rabbits which George has promised Lennie he can tend. However, Lennie, who is very big and strong but mentally challenged, keeps getting into trouble because of his naive love of everything small and soft. After being run out of their last job, they find work on another ranch near the Salinas River in California and soon discover that many of the inhabitants, including and old-timer named Candy (Brook Robertson) who is forced to part with his dog, Curley's wife (Ashley Slater) who is unhappy in her marriage, and Crooks (Kiirt Banks) who is segregated from the other workers because he is Black, are suffering from a crushing loneliness. Even though George laments the fact that his life would be so much easier without Lennie, he knows that it is this friendship and their dream that keeps him from the same loneliness. Events eventually conspire against them when Lennie is once more tempted by something soft and George loses both his friend and his dream. It is an incredibly tragic story because it is a realistic portrayal of the plight faced by many during the Great Depression and I always find it to be very thought-provoking because the American Dream is still often unattainable for those who are marginalized. This production provides a very sensitive and moving portrayal of these dark themes. Wilkins gives a brilliant performance as Lennie because he is always believable as the character with many subtle bits of business that allude to his diminished capacity, such as looking off in the distance, never making eye contact, and stimming with his fingers. His interactions with Charon are also believable and incredibly touching (I had tears in my eyes during the final scene). I was also very impressed with Robertson, because his response to the death of his dog (which foreshadows future events) is another poignant moment which brought tears to my eyes, and with Slater, because her characterization as Curley's wife is much more sympathetic than I have seen before (she is usually portrayed more coquettishly). I also have to give a shoutout to Apollo, making his stage debut as Candy's dog, because he is very well-behaved and so adorable. I loved the use of Aaron Copland's music, because it is very beautiful and evocative, and I also loved the use of corrugated tin and wood in the sets for the bunkhouse and the barn, because it feels so authentic to the time and place. The entire production is outstanding and I highly recommend taking advantage of this rare opportunity to see one of the great novels of American literature performed on stage. It runs on Fridays and Saturdays through April 27 (go here for tickets).

Pretty Woman at the Eccles

I am not a fan of turning movies into musicals so, when Broadway at the Eccles announced the 2023-2024 season, Pretty Woman was the show that I was the least interested in.  I saw it last night and, while it will never be one of my favorites, I enjoyed it more than I thought I would. Edward Lewis (Chase Wolfe) is in Los Angeles for a week on business when he gets lost on Hollywood Boulevard.  Vivian Ward (Ellie Baker), a young woman down on her luck and working as a prostitute, offers to help him for a price and eventually spends the night with him at the Beverley Wilshire Hotel.  Since he has a number of social obligations while in L.A., he suggests that she be his escort for the week and they negotiate a price.  As they spend time together, they have a positive effect on each other because Edward decides to become a partner in the company he was going to dismantle and Vivian sees that she is worth more than a life of prostitution but will they realize that they love each other?  All of the iconic scenes from the movie are recreated on stage, such as Vivian's shopping trip on Rodeo Drive and when Edward snaps the lid of the jewelry case on her fingers, and they are fun (the subdued audience was the most engaged during these moments).  One of the reasons why I dislike turning movies into musicals is because most of the time the music feels very contrived and is instantly forgettable and, unfortunately, that is the case with this show.  The one exception for me was "You and I" when Edward and Vivian attend the opera.  Who knew that a mash-up of a power ballad by Bryan Adams and an aria from Verdi's La Traviata could work so well?  It gave me goosebumps.  Wolfe and Baker have beautiful voices but their performances are a bit bland, especially their dancing.  However, Adam du Plessis (as the narrator and the manager of the hotel) and Connor Kabat (as a bellhop) are unbelievably entertaining and steal the show, particularly in their interactions together.  Kabat is by far the best dancer in the company and appears in almost every dance sequence (whether a bellhop is needed or not).  The sets are serviceable (they are recognizable as Hollywood Blvd., Rodeo Dr., and the Beverly Wilshire Hotel because there are large signs proclaiming them as such) but I was a little disappointed in the costumes because they pale in comparison to the iconic originals from the movie, especially Vivian's red opera dress.  I never need to see this again but I definitely didn't hate it and I suspect that fans of the movie will love it.  There are five more performances through April 7 with lots of available tickets (go here).

The Lehman Trilogy at PTC

Last night I went to the new Meldrum Theatre (a really cool venue) for its inaugural production of The Lehman Trilogy and it was an incredible experience, both being in the intimate new space and watching this epic story. In 1844 Henry Lehman (Jeff Talbot) arrives in New York City from Bavaria with the hope of living the American dream. He ends up opening a small fabric and clothing shop in Montgomery, Alabama and is soon joined by his brothers Emanuel (William Connell) and Mayer (Seth Andrew Bridges). From these humble beginnings a vast financial institution known as the Lehman Brothers is established. The narrative spans 164 years and three generations of the Lehman family while chronicling the vicissitudes of capitalism in three acts. In Act I, the first generation of brothers eventually consolidate their shop into a go-between for cotton growers in the South and factory owners in the North until their business is derailed by the Civil War. In Act II, the next generation reinvents the business as an investment banking and commodities trading firm until it is almost destroyed by the stock market crash of 1929. In Act III, the third generation achieves spectacular successes but also devastating losses through speculation until they are forced to declare bankruptcy. What I loved most about this play is that the history of 19th and 20th century America is told through the filter of one family and, even though it sounds like it might be tough to sit through (it is over three hours long with two intermissions), it is fast-paced and exciting. I was never bored! In addition to the three Lehman brothers who emigrate to America, Talbot, Connell, and Bridges also portray their progeny and all of the other characters with whom they interact and the performances are absolutely remarkable (just the stamina involved alone is very impressive because the characters are constantly moving). The actors provide both dialogue and narrative descriptions and I really enjoyed this technique because it seemed like I was watching a book about the Lehmans being brought to life right in front of me. The actors also move the minimal props (suitcases, tables, chairs, bales of cotton, ledgers, etc.) around the stage themselves and I especially liked the evolution of their sign over the years. The costumes change to reflect the prevailing fashion of the time depicted in each act but they also include fun additions for the minor characters (my favorite was the fan used to portray Emanuel's wife). Finally, the intimate theatre, which features a thrust stage, is perfect for this production because it gives the audience a chance to get up close and personal with these characters who had such an impact on history (my seat was on the second row and there were moments when I could have touched the actors). I don't think I have ever seen anything like this on stage before and I cannot recommend it enough! In runs in the new Meldrum Theatre through April 13 (go here for tickets and here for more information about the theatre).

Note:  PTC recently announced the 2024-2025 season (Jersey Boys, Prayer for the French Republic, Souvenir, Dial M for Murder, Beautiful: The Carole King Musical, A Case for the Existence of God, and Waitress) and I couldn't be more excited! Go here for more information.

Shrek the Musical at the SCERA Center for the Performing Arts

Last night I went to see a production of Shrek the Musical at the SCERA Center for the Performing Arts featuring an incredibly talented group of high school students belonging to the award-winning acting troupe called Acting Up! I figured that, if they could produce an enjoyable version of a show that I dislike, they would definitely do a phenomenal job with a show I actually do like and I was right! It was so much fun! Shrek (Finn Parks) is an ogre just minding his own business when his swamp is invaded after Lord Farquaad (Mark Triplett) banishes all of the Fairytale Creatures from Duloc. After some encouragement from Pinocchio (Al Sorensen), he decides to visit Farquaad himself to get his swamp back and, along the way, he saves Donkey (Noah Hinckley) from Farquaad's guards and they end up traveling to Duloc together. Farquaad, who wants to be King, agrees to give Shrek back his swamp if he rescues Princess Fiona (Tanya Cespedes) from a tower guarded by a fire-breathing Dragon (Kaisa Judd) so he can marry her. Donkey distracts Dragon so Shrek can rescue Fiona but chaos ensues on the way back to Duloc when Shrek develops feelings for her. Parks is great in the title role because he shows a vulnerability behind the gruff exterior and he displays a lot of charisma in his performance (but I sometimes couldn't hear him during his songs, especially in "Who I'd Be" and "When Words Fail"). Hinckley is a lot of fun because he is fast-talking and frenetic in his physical performance and I loved his version of "Forever" with Judd. Cespedes has a beautiful voice, particularly in the song "I Know It's Today" with Claire Moreira as Young Fiona and Rachel Paz as Teen Fiona (they harmonize so well), but I also enjoyed her physicality, especially in "I Think I Got You Beat" with Parks (the children in the audience absolutely loved the *ahem* sound effects in this number). However, it is Triplett who steals the show! As is often the case in this musical, he portrays Farquaad's short stature by appearing on his knees with tiny fake legs dangling in front of him and a large cape hiding his real legs, but Triplett adds another layer of hilarity with lots of big gestures with his arms and exaggerated facial expressions. I laughed non-stop whenever he was on stage and his songs "What's Up Duloc" and "Ballad of Farquaad" were highlights for me! I was also very impressed by Judd because she gives a fantastic performance while effortlessly manipulating an amazing dragon puppet (with the help of another puppeteer). The outstanding ensemble provided some more of my favorite moments, including "The Story of My Life" and "Freak Flag," with colorful costumes and dazzling choreography. Honorable mentions go to Sorensen as Pinocchio, Sabrina Barker as the Fairy Godmother, Alyssa Abildskov as the Wicked Witch, and Macey South as Gingy. The fabulous stage features a series of steps configured to look like a forest with fun set pieces for Shrek's swamp, Farquaad's castle, the Dragon's keep, and Fiona's tower. I was so impressed with these young actors and I cannot recommend this production enough! Definitely let your freak flag fly and get a ticket (go here) for one of the remaining performances through March 30.

Arsenic and Old Lace at the Grand Theatre

 

Last night I had a lot of fun seeing the hilarious play Arsenic and Old Lace at the Grand Theatre.  Mortimer Brewster (Bryan Harper) visits his elderly aunts Abby (Betsy West) and Martha (Alyssa Hickman Grove) only to discover a dead body in the window seat.  He learns that several old and lonely men have visited, answering an advertisement for a room to rent, and that the Brewster sisters have done their Christian duty by ending their misery with a glass of elderberry wine (with the addition of arsenic).  Their nephew and Mortimer's brother Teddy (Jim Nelson), who believes that he is Teddy Roosevelt, buries these men in the cellar because he thinks he is digging locks for the Panama Canal.  Chaos ensues when Mortimer's other brother Jonathan (David Hanson), a homicidal maniac, returns to the house needing to dispose of his own dead body which eventually ends up in the window seat, too!  Add an unwilling accomplice (Isaac Maltby), a bumbling policeman who really wants to be a playwright (Robert A. Easton), and a curious fiance (Katie Plott) and you have a thoroughly entertaining dark comedy that will keep you laughing all evening!  I really enjoyed the physicality of the performances and the cast has great comedic timing.  I especially loved it every time Teddy charges up the staircase as if he were in the Battle of San Juan Hill and when Mortimer and Jonathan each think they are hiding a different body in the window seat.  I also enjoyed the over the top characterizations because Harper is completely overwrought as Mortimer, West and Grove are incredibly dry and understated as the Brewster sisters, and Hanson is suitably menacing as Jonathan.  Finally, I loved the elaborate multi-level set (the staircase and window seat are fantastic) which includes all of the little details that you would see in a fussy drawing room inhabited by spinsters (the lace antimacassar on the back of the chair was my favorite) and the period costumes (the old fashioned dresses worn by the Brewster sisters are so funny compared to the other costumes).  This play is a classic comedy for a reason and fans of the genre are sure to love it (there was a big crowd last night).  It runs Thursdays, Fridays, and Saturdays (with several Saturday matinees) through April 6 (go here for tickets).

Seussical the Musical at CPT

I am not a fan of Seussical the Musical but Utah audiences seem to love it so local theatre companies program it a lot. Because I am a subscriber, I saw CPT's production last night and, while the sets, projections, costumes, and performances are outstanding, nothing can compensate for the fact that the story is nonsensical, convoluted, and loses focus in the second act. This musical shoehorns the children's stories of Dr. Seuss, including Horton Hears a Who, Gertrude McFuzz, How the Grinch Stole Christmas!, Green Eggs and Ham, Hop on Pop, Yertle the Turtle, Horton Hatches the Egg, I Had Trouble Getting to Solla Sollew, And to Think That I Saw It on Mulberry Street, McElligot's Pool, Oh Say Can You Say?, Hunches in Bunches, If I Ran the Circus, Dr. Seuss's ABC, The Butter Battle Book, Oh, the Thinks You Can Think!, Fox in Socks, The Cat in the Hat, The Sneetches and Other Stories, Did I Ever Tell You How Lucky You Are?, and Oh, The Places You'll Go!, into an incomprehensible story about an imaginative boy named Jojo, who sometimes gets in trouble for all of the thinks that he thinks, and the adventures he goes on with The Cat in the Hat. The positive message at the end is that anything is possible and that you can go anywhere you want just by thinking your thinks but it is all just so overstuffed with too many characters and ideas. I even find the music to be very repetitive. There are endless reprises of "Oh, The Things You Can Think" and "How Lucky You Are" and, even though the songs feature lots of different genres, they all blur together. The best thing about this show is the unbelievably talented cast, especially Emily Henwood as Gertrude McFuzz because she is so awkward and endearing, Dan Call as Horton the Elephant because he is incredibly sympathetic (his versions of "Alone in the Universe" and "Solla Sollew" were definitely the highlights for me), Meish Roundy as The Cat in the Hat because he makes for a boisterous and entertaining emcee, and Lelini Iongi as Jojo because he is absolutely adorable. The sets and projections mimic the bold, colorful, and fantastical world of Dr. Seuss's books and the costumes are a lot of fun, especially the fanciful feathered costumes worn by Gertrude, Mayzie (Janae Klumpp Gibb) and the Bird Girls (Katherine Frandsen, Brookelynn Alapa, and Cassie Dibbins) and the leather vests worn by Wickersham Brothers (Dylan Floyd Panter, Joshua David Lee, and Sterling Shane Allen).  The staging and choreography are imaginative and dynamic, particularly in "Here on Who," "It's Possible," "Monkey Around," "Circus McGurkus," "A Message From the Front," and "Havin' a Hunch." I really cannot find anything to fault with this production but I think this show just isn't for me and I have given myself permission to never see it again. Seussical the Musical runs on the Barlow Main Stage at CPT through April 13 and I recommend it because others seem to enjoy it much more than I do (go here for tickets).

Note:  Does anyone want my ticket to HCTO's production in June?

How to Succeed in Business Without Really Trying at HCTO

I always love it when I have the opportunity to see a popular show that I haven't seen before and that is what happened at HCTO last night when I got to see their production of How to Succeed in Business Without Really Trying.  It is a charming old-fashioned musical satirizing life on the corporate ladder and I loved it.  J. Pierpont Finch (Josh Valdez) is a lowly window washer for the World Wide Wicket Company with big ambitions.  After consulting the book How to Succeed in Business Without Really Trying, he impresses the boss J.B. Biggley (David Morley-Walker) and he gets a job working in the mail room.  Despite the attention from Rosemary Pilkington (Morgan Fenner), a secretary who has decided to marry him, and the scheming of Bud Frump (Joseph Paul Branca), Mr. Biggley's incompetent nephew who is jealous of him, he becomes a junior executive in the Plans and Systems Department, then Vice President of Advertising, and eventually takes the place of Wally Womper (Michael D. Fox) as Chairman of the Board.  The best part of this show is the dazzling and innovative choreography and I loved watching the incredibly talented ensemble perform in the big song and dance numbers "Coffee Break," "The Company Way," "A Secretary Is Not a Toy," "Paris Original," "Cinderella, Darlin'," "I Believe In You," and "Brotherhood of Man."  I had a huge smile on my face during all of these numbers and so did everyone in the audience.  The cast is outstanding!  Valdez has just the right combination of earnestness and charisma to shine as Finch and I loved his touching performance in "Rosemary" and his raucous rendition of "Grand Old Ivy" with Morley-Walker (which made me laugh out loud).  The female roles are a bit outdated for a modern audience but Fenner, Lisa Zimmerman (as Hedy LaRue), and McKell Shaw (as the secretary Smitty) add a lot of comedic elements to their performances.  However, it is Branca who absolutely steals the show because he is so petulant as Frump and his physicality and facial expressions are hilarious (I think I laughed at every single thing he did).  The stage features a black and white checkerboard floor, stylized logos for the World Wide Wicket Company (which reminded me of the Pan Am logo), and geometric set pieces that emphasize a 1960s vibe.  These geometric patterns are also used in panels with colored LED lights all around the theater and I loved how the lights flashed in sync with the music.  The period costumes are all a lot of fun, especially the Paris "original" gowns worn by all of the secretaries to a reception.  I definitely enjoyed this show (without really trying) and I recommend it highly (go here for tickets).  It runs every night but Sunday with several matinees through April 13.