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!

The Phantom of the Opera at the Eccles

The very first show I saw on Broadway was The Phantom of the Opera with my sister Kristine when we were on a girls trip to NYC in 1998 so it was especially appropriate that I got to see the Broadway touring production at the Eccles last night with her! We had such a great time because the show is amazing! A misunderstood genius with a facial deformity, known as the Phantom (Isaiah Bailey), lives in the catacombs under the Paris Opera House. His muse is a chorus girl named Christine Daae (Jordan Lee Gibert) who is both drawn to him and his music but also frightened of him. He haunts the opera house in order to get the managers, Monsieur Firmin (William Thomas Evans) and Monsieur Andre (Carrington Vilmont), to feature her over the soprano Carlotta (Midori Marsh). The Phantom's love turns into a dangerous obsession when Christine becomes involved with Raoul de Chagny (Daniel Lopez), a patron of the opera, and he ultimately forces her to choose between them (I always want her to stay with the Phantom). I love the music in this show and, no matter how many times I see it, I always get goosebumps during my favorite songs! This cast is phenomenal and their performances of "Think of Me," "The Phantom of the Opera," "Wishing You Were Somehow Here Again," and "The Point of No Return" are some of the best I have ever seen!  One of my favorite moments came when Lopez sings "All I Ask of You." I loved his voice but, more than that, I loved his characterization because his body language is almost mechanical, especially when he drops to one knee matter-of-factly to declare his love, and that is such a great contrast to the passionate Phantom. Speaking of the Phantom, Bailey is incredible and his version of "The Music of the Night" is worth the price of the ticket alone because it is both emotional and restrained (he has such vocal control). I don't think anyone in the Eccles Theatre drew breath during the entire song because it is so powerful! This production features the original staging with a few tweaks, including different, but no less spectacular, chandelier drops. I was really happy when I realized this because, as much as I tried to convince myself that I loved the new staging during the last national tour, I definitely prefer the earlier version. I was most excited to see the return of the set and choreography for "Masquerade" (my favorite number in the show) because the grand staircase reveal is so dramatic and I am always blown away by the stylized dance sequence with the whole company in unison on the stairs! I loved every minute of this iconic musical and I am so glad that I got to experience it with my sister (again). It runs at the Eccles Theatre through April 26 (go here for tickets) and I highly recommend it even if you have seen it before.

Arsenic and Old Lace at the Empress Theatre

Last night I could not stop laughing at the Empress Theatre's entertaining production of the classic madcap comedy Arsenic and Old Lace. Two elderly spinsters, Abby and Martha Brewster (Rose Lagos and Diana Sorensen, respectively), are known in their Brooklyn neighborhood for their numerous acts of charity. However, their charity includes poisoning lonely old men who come to their home looking for lodging with their homemade elderberry wine. Their nephew Teddy (J.D. Robison), who believes that he is President Theodore Roosevelt, helps them by burying the men in the holes he digs for the Panama Canal in the cellar. Chaos ensues when their other nephew Mortimer (Marc Reading) discovers one of their victims in the window seat and when their estranged nephew Jonathan (Mike Brown), a homicidal maniac, suddenly appears wanting to dispose of one of his victims in the same window seat. It takes an unwilling accomplice (Ryan Munsey), a bumbling policeman who really wants to be a playwright (Adrian Young), and a curious fiancee  (Rachel Felt) to end the mayhem. This show features a lot of physical comedy and the entire cast does a brilliant job with it. I especially loved Reading because his Mortimer is hilariously overwrought as events spin wildly out of control (I laughed out loud every time he shrieked in panic), Brown because his Jonathan is so menacing as he looms over everyone, Robison because his Teddy is completely over the top as he charges up the stairs fighting the Battle of San Juan Hill, and Young because their Officer O'Hara reenacts the play with a frenetic energy that is fun to watch. It is also so much fun to watch Lagos and Sorensen because their facial expressions are an absolute hoot (another laugh out loud moment came when Sorensen skipped to the cabinet to get the elderberry wine) and I loved the chaotic scenes involving the dead bodies in the window seat. There was also an amusing mishap last night involving the police officers and a baton but Brad Goodman (as Lieutenant Rooney) played it off so well it was a highlight of the show for me (the actors could barely hold it together as they exited the stage). The set for this show is impressive and filled with all of the fussy period furniture and objects you would expect two elderly spinsters to have in their drawing room. I loved the attention to detail, especially the books on the cabinet (the lady sitting next to me kept picking them up to look at them) and the cut glass decanters and goblets. My favorite elements were the wood wainscoting and family portraits along the upstairs hallway and the elaborate picture window and seat. I also enjoyed the period costumes, particularly those worn by the Brewster sisters (I loved the black bombazine gowns). Getting a ticket to this show (go here) is a guaranteed fun night out and it is a great way to support one of my very favorite community theatres!  Performances are on Thursdays, Fridays, and Saturdays through April 18.

King James at PTC

I have been a sports fan for almost all of my life and I have seen first-hand how the collective experience of cheering for a team can connect people so, needless to say, I have been anticipating PTC's production of King James ever since the 2025-2026 season was announced. I finally had the chance to see it last night and I really loved it! Matt (Eli Mayer) and Shawn (Khiry Walker) first meet during LeBron James' rookie season with the Cleveland Cavaliers. Matt is trying to sell the remaining games in the season package he has had with his father for decades in order to pay off some debts. Shawn hears about the tickets from a mutual friend and meets Matt at the wine bar where he works because he promised himself he would start going to games once he had some disposable income. Even though they are very different people with different backgrounds and goals for the future, they become close friends over their shared love of the Cavaliers and LeBron James. The ups and downs of their friendship seem to mimic the trajectory of James' career from his decision to take his talents to South Beach in 2010 to his return to Cleveland in 2014 and, finally, to his dramatic win over the Golden State Warriors for the Championship in 2016. Their discussions about the team often become the catalyst for more poignant and sometimes contentious conversations about love, loss, disappointment, success, failure, economic status, and race. Through it all, the two of them bond as they risk their emotional well-being on the outcome of an athletic competition (this line got a huge laugh) and to say that I could relate would be an understatement! I found the message that sports can bring people together to be incredibly moving because, even though my dad and I sometimes disagreed, we always found common ground in our love for hockey! Both Mayer and Walker are very compelling (my attention never wavered in a play that is very dialogue-heavy) and their performances are entirely believable because they have the easy back-and-forth rhythm that two people who have been friends for more than a decade would have. The more intimate Meldrum Theatre is perfect for this piece because it feels like you are right there in the bar overhearing a conversation between two fans after a game. The sets and costumes (I loved the #23 jerseys) are simple but effective and I loved the use of a buzzer at the end of each scene (the play is structured like a basketball game with four "quarters" and a "halftime" between the second and third). Finally, there are a lot of fun references that Cavs fans and basketball fans in general will pick up on but I think the show is accessible to everyone because it is ultimately about friendship. I highly recommend this production with the caveat that it does contain strong language. The run continues in the Meldrum Theatre through April 4 (go here for tickets).

Father of the Bride at Parker Theatre

I love the 1950 movie Father of the Bride starring Spencer Tracy and Elizabeth Taylor (I also love the 1991 remake with Steve Martin and Kimberly Williams) so I was really looking forward to Caroline Francke's stage adaptation of Edward Streeter's novel (which inspired the movie) at Parker Theatre last night. It is incredibly funny and heartwarming! Kay Banks (Emma Widfeldt) turns her household upside down when she casually announces to her family, including her father Stanley (Michael Hohl), her mother Ellie (Hillary McChesney), and her brothers Ben (Truman Schipper) and Tommy (Jago Parker), that she is engaged to Buckley Dunstan (Brock Harris). Kay says that she wants a small wedding but it soon spirals out of control and Buckley is plagued with nerves while Stanley is stressed by the cost (and by the thought of losing his daughter). Mayhem ensues until Kay is able to calm Buckley down and convince her father that she is no longer a child and is ready to leave the nest. I was laughing out loud through the whole show, especially in a scene in which Stanley's secretary Miss Bellamy (Catherine Bohman) dramatically resigns in frustration when every member of the family secretly adds to the guest list and a scene in which the eccentric and flamboyant caterer Mr. Missoula (Lorin Bruns) tries to get Stanley to pick a wedding cake. I also loved the physical comedy as the caterers (Bruns and Brian Douros), florist (Nathan Chelf), dressmaker (Juliet Wendels), and furniture movers (Mitchell Wardell and Tara Berrett) cause pandemonium in the Banks house as the maid Delilah (Luana Parkes) tries to clean and the family tries to get ready one hour before the wedding. The entire cast does a great job but Hohl really carries the show! He is hilariously overwrought as the size and cost of the wedding keep increasing but he is also gives an emotional performance as an overprotective father struggling to adapt to his daughter's transition to adulthood (the scene before they leave for the wedding is especially poignant). All of the action takes place in one location, the Banks's living and dining room, and I was really impressed by the attention to detail with glimpses of other rooms as characters exit to the wings. I also loved the addition of props as the house becomes inundated by wedding preparations and presents. The period costumes are gorgeous (I really like the 1950s silhouette), particularly the tuxedos and dresses for the wedding, and there is a fun detail involving Kay's shoes so pay attention! This is a delightful show and fans of the movies are sure to love it (go here for tickets). Performances are on Fridays and Saturdays through May 2.

Hadestown at the Eccles

I love the musical Hadestown so, even though I just saw the Teen Edition two weeks ago, I was thrilled to be able to see the Broadway touring production again last night at the Eccles. I really enjoyed some of the subtle changes in characterization from the original. Orpheus (Jose Contreras) is a poor boy with the gift of music who dreams of the world as it could be. Eurydice (Hawa Kamara) is a hungry girl who has only experienced the world as it is. She falls in love with Orpheus when he promises her a song that will bring back spring after Hades (Nickolaus Colon) calls Persephone (Namisa Mdlalose Bizana) back to him early. But times are hard and Eurydice is lured to the underworld by Hades in exchange for food. Orpheus travels there to rescue her when she is trapped in a cycle of endless work and desperation and Hades allows him to leave with her after hearing his song but the Fates (Gia Keddy, Miriam Navarrette, and Jayna Westcoatt) intervene and Orpheus is ultimately plagued by doubt. However, Hermes (Rudy Foster) reminds us that, even though the song is a sad one, we must keep singing it if we want to change the outcome. The music in this show is amazing and the performances from this cast definitely do it justice! Foster is quite the character as Hermes and I laughed out loud every time he milked the crowd in "Road to Hell" and "Way Down Hadestown." Bizana is a hoot as Persephone and she really leans into the physical comedy in "Livin' It Up On Top" and "Our Lady of the Underground" but she can really sing the blues and I loved her emotional performance of "How Long?" with Colon. He has an amazing baritone voice and that, combined with an imposing physicality, makes his Hades very menacing. His phrasing is a little bit different and he uses a reverb in "Why We Build the Wall" that makes it even more intimidating (I always get goosebumps in this song). Keddy, Navarrette, and Wescoatt reminded me of a gospel choir because their vocals are so powerful in "When the Chips Are Down," "Nothing Changes," and "Word to the Wise." The way they harmonize in "Doubt Comes In" gave me chills! Contreras has a beautiful voice and I actually liked it more than Reeve Carney's (he originated the role on Broadway). His renditions of "If It's True" and "Epic III" brought tears to my eyes! I loved every performance but Kamara's was my favorite. Her Eurydice is incredibly defiant in "Any Way the Wind Blows" (this is my favorite song in the show and I loved this interpretation) and guarded in "Come Home With Me" and "Wedding Song" so when she shows vulnerability in "Flowers" (another favorite song) it is absolutely devastating. The choreography and staging are iconic, especially for "Chant," because the way the Workers Chorus (Jonice Bernard, Bryan Chan, Ryaan Farhadi, Erin McMillen, and Joe Rumi) is incorporated mimics a factory assembly line, and "Wait For Me (Reprise)," because the journey through the underworld is conveyed through dramatic lighting (I have seen this performed with large ensembles lately and I was surprised by how moving I found the simpler choreography). This musical is up there with Hamilton and Les Miserables for me so it was an incredible experience to see it again and I highly recommend it! There are five performance left in the run at the Eccles Theatre (go here for tickets).

Finding Neverland at CPT

I love the musical Finding Neverland (both the Broadway and Broadway touring productions rendered me a sobbing mess) so, after being a bit underwhelmed by the version I saw at HCT, I was really eager to see what CPT would do with it. I went last night with both of my sisters and my brother-in-law (his niece plays Mary) and I absolutely loved it! JM Barrie (Ben Lowell) is caught between a world inhabited by his social climbing wife Mary (Jaycee Harris) who wants him to behave like a gentleman and his exasperated producer Charles Frohman (Blaine Hickman) who wants him to write another hit play and the world of his imagination. When he meets Sylvia Llewelyn Davies (Madeleine Pew) and her sons George (Xander Wardle), Jack (Daniel Bush), Peter (Hunter Jones), and Michael (Will Hickman) in Kensington Garden, he is able to indulge his imagination. He eventually writes the play Peter Pan as a way to help the boys deal with their grief over the death of their father. I love the music in this show and both Lowell and Pew perform my favorite songs, "My Imagination," "All That Matters," "Neverland," and "What You Mean to Me," so beautifully that I had goosebumps during all of them. I had tears in my eyes when Lowell and Jones sing "When Your Feet Don't Touch the Ground" because it is so touching and Jones has such a lovely voice (I was impressed by all four of the boys, especially in the song "We're All Made of Stars"). Even though this show is extremely emotional, there is quite a bit of comic relief and the choreography for "We Own the Night," "The World Is Upside Down," and "Play" is a lot of fun (I love the performers in the acting troupe because they are all over the top, especially Andrew Stone when he is left dangling in the air and Justin Lee when he learns that he is playing a dog). The staging is incredible in "Circus of Your Mind" as Barrie is trapped going through rotating doors belonging to Mary, Frohman, and Sylvia's mother Mrs. DuMaurier (Kassie Winkler) and in "Stronger" because the pirate ship in Barrie's imagination (shown with projections) is actually brought to life on stage but I was most impressed by the penultimate scene with Sylvia in the nursery because it is magical (it replicates the stage craft from the Broadway production and it gave me chills). The period costumes are beautiful and I love that the set is swathed in white curtains upon which projections appear because it emphasizes using the imagination. I loved everything about this production (it is now one of my favorites from CPT) and I highly encourage getting a ticket (go here). It runs on the Mountain America Main Stage through April 23.

Note:  It is always fun to see Trent's niece Jaycee on stage!  I was especially impressed by her dog wrangling skills when Mary takes Porthos (Indie Blue, making her stage debut) for a walk in Kensington Garden.

Hadestown: Teen Edition at the SCERA Center for the Performing Arts

Last night I went to see a production of Hadestown: Teen Edition by Acting Up (a theatre company of high school students) at the SCERA Center for the Performing Arts. This is one of my very favorite musicals because it reimagines the mythology of Orpheus and Eurydice to expose what is wrong with the world, including climate change, poverty, and the exploitation of workers, while espousing the hope that the the world could be better through the power of love and art. The teens in Acting Up always do a phenomenal job and last night was no exception because I was blown away by the amazing talent on the stage! This production does not feature musicians playing live on stage but this allows for a large ensemble of over forty which is quite impressive. The choreography for the expanded ensemble is especially powerful in "Why We Build the Wall," because seeing a large group of workers marching in formation is intense, and in "Wait For Me (Reprise)," because they become a maze for Orpheus and Eurydice to walk through, a tunnel for them to walk under, and obstacles for them to climb over and it is incredibly dramatic. I also enjoyed the choreography for the male ensemble in "Our Lady of the Underground" because it is really athletic. Gage Gillette is outstanding as Orpheus (one of the best I've seen in this show) because the role requires a tremendous vocal range as well as vulnerability and, not only does he hit all of those high notes, he gives impassioned performances of "Come Home With Me" and  "If It's True" (I found it entirely plausible that he could sway all of the workers to his side). I was also impressed by his guitar playing in "Epic I," "Epic II," and Epic III." Emma Stewart has a beautiful voice and she brings a lot of pathos to her performance as Eurydice. My favorite songs in the show are "Any Way the Wind Blows" and "Flowers" and I loved her heartbreaking renditions (the latter brought tears to my eyes). Cedric Smith is a very compelling Hades because he has a rich baritone voice that is deceptively charming in "Hey, Little Songbird" but menacing in "Why We Build the Wall." Emma Pierson is a lot of fun to watch as Persephone because she is a great dancer and she can definitely sing the blues, especially in "Our Lady of the Underground." Her voice also blends really well with Smith's in "How Long?" My favorite performance was from William Madsen because he is a charismatic and appealing Hermes. He has a great voice and a captivating stage presence, particularly in "Road to Hell" and "Way Down Hadestown." I love the role the Fates (Katelynn Lee, Claire Moreira, and Lexi Williamson) play in the story and the three of them harmonize beautifully in "When the Chips Are Down" and "Doubt Comes In." The set features a brick mansion in an old New Orleans neighborhood with a wrought iron balcony on the top level and a large metal factory with train tracks that lead to a station on the bottom level (I think it is more elaborate than the Broadway production) and the costumes are very striking, especially all of the boiler suits worn by the workers. If you love this musical as much as I do, I highly recommend getting a ticket (go here) to this production because it is extremely well done. It runs at the SCERA Center for the Performing Arts on Mondays, Tuesdays, Thursdays, Fridays, and Saturdays through March 28.