Beautiful: The Carole King Musical at PTC

The Broadway touring production of Beautiful: The Carole King Musical was the first show I saw at the Eccles Theatre when it opened and, because I loved it so much, I was really excited to see it again last night at PTC. This version is definitely on par with the Broadway production and, once again, I really loved it. Beautiful is a jukebox musical describing how Carole King rose to stardom in the 1970s using the songs she wrote, such as "So Far Away," "Will You Love Me Tomorrow," "Up on the Roof," "It's Too Late," "You've Got a Friend," "(You Make Me Feel Like) A Natural Woman," and "I Feel the Earth Move" among others, to inform her story. Act I begins when a sixteen year old King (Sara Sheperd) decides to go to Manhattan to sell one of her songs to producer Don Kirshner (Jason Andrew Hackney) and continues with her development as a hit songwriter with her husband Gerry Goffin (Anthony Sagaria) and with their rivalry with the songwriting team of Cynthia Weil (Lee Alexandra Harrington) and Barry Mann (Stephen Christopher Anthony). Act II details the disintegration of King's marriage to Goffin and how she finds the courage to stand on her own, both personally and professionally, which results in the writing and recording of her seminal album Tapestry. King's legendary concert at Carnegie Hall in 1971 is used as a framing device. Many of the musical numbers begin with King and Goffin or Weil and Mann singing a song as they write it, usually around a piano, and then continue with the artist who made it famous singing it as a big production number with fabulous choreography. I really loved seeing "Will You Still Love Me Tomorrow" with the Shirelles (Elexis Morton, Tyler Symone, Hannah Camille Hall, and Kianna Kelly-Futch), "Up on the Roof" with the Drifters (Travis Keith Battle, Chris Richie, Nathan Andrew Riley, and Cory Simmons), "The Locomotion" with Little Eva (Grace Ellis Solomon), "You've Lost That Lovin' Feeling" with the Righteous Brothers (Jordan Briggs and Nate Ginsberg), and "One Fine Day" with Janelle Woods (Elexis Morton). The music is incredible (I had to stop myself from singing along and I was definitely not alone as I watched the people around me instantly recognize a song) and all of the performances are brilliant. Sheperd, especially, is amazing because she not only embodies King in the musical numbers (her rendition of "A Natural Woman" gave me goosebumps) but she also shows so much vulnerability in portraying King's journey to self-acceptance (I really love the message of empowerment in this show). The minimal set pieces are moved and configured into various locations very effectively by the ensemble and the hair, makeup, and costumes do a great job evoking the 1960s and 1970s. I had such a good time watching this and I heard nothing but positive comments from the audience as I walked out. Do yourself a favor and get a ticket (go here) for one of the three remaining performances.

Note:  The crowd last night was the biggest I've seen all season!

Jesus Christ Superstar at the Grand Theatre

I have seen two different Broadway touring productions of Jesus Christ Superstar but I think the version I saw last night at the Grand Theatre might be my favorite.  I loved everything about it!  This rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice tells the story of the Passion of Jesus Christ from the perspective of Judas as he becomes dissatisfied with Jesus's growing popularity and fears that it is taking away from their mission to help the less fortunate.  It features contemporary sensibilities and I've seen Jesus portrayed as a rock star with an electric guitar and a microphone in other productions but in this one he creates a cult of personality and whips crowds into a frenzy with just his presence.  All of the costumes are contemporary, as well.  Jesus is dressed casually in athletic wear (and an orange jumpsuit during his trial), his followers are dressed as punk rockers (I loved Judas's red leather jacket), King Herod is dressed as a sleazy lounge singer in a pink lamé suit, and Pilate is dressed as a 19th century gentleman with a brocade waistcoat and frock coat.  The set, which consists of multi-level metal towers (that look like scaffolding) with a large cross at the top, the dramatic lighting design, and the dynamic choreography are all dazzling and my attention never wavered from what was happening on stage.  I love the music in this show (I had to try really hard not to sing along to every song) and the three leads, Michael Scott Johnson as Jesus, Aaron Naylor as Judas, and McKenna Kay Jensen as Mary Magdalen, have beautiful voices.  I really enjoyed Jensen's version of "I Don't Know How to Love Him" (my favorite song in the show) and Johnson's rendition of "Gethsemane (I Only Want to Say)" gave me goosebumps but Naylor blew me away with his performance of "Damned for All Time/ Blood Money" because you can really feel his escalating torment.  I was also impressed by "This Jesus Must Die" by Ricky Parkinson as Caiaphas because he has an incredible bass voice and "Pilate's Dream" by Keefer Glade as Pilate because having him play the guitar while standing in a spotlight during this song is very powerful.  I think this show is brilliant but the song "Trial By Pilate/ Thirty-Nine Lashes" is extremely difficult to watch, particularly in this version because it is staged very realistically with blood dripping from Jesus's wounds.  However, the staging of "John Nineteen: Forty-One" is incredibly tender and I think it makes up for the scenes preceding it.  This production is so good and I cannot recommend enough!  It runs at the Grand Theatre on Thursdays, Fridays, and Saturdays through March 22 (go here for tickets).

The Prince of Egypt at HCT

I have always regretted that I didn't make more of an effort to see The Prince of Egypt when it was at Tuacahn in 2018 so I was very excited when it was included in the 2025 season at HCT. I had the chance to see it last night and I really enjoyed it. A baby named Moses is set adrift on the Nile by his Hebrew mother Yocheved (Sophia Morrill Mancilla) in order to save his life. Queen Tuya (Mack) rescues him and then raises him alongside her son Ramses in the court of Egypt. Ramses (Ren Cottam) and Moses (Ethan Kelso) form a close bond as they vie for the attention of the Pharaoh Seti (Danté J. L. Murray) but Ramses eventually marries Nefertari (Annakaitlyn Burningham) to unite two kingdoms and, when Moses learns his true identity from his biological sister Miriam (Jaden Chandie Nandkeshwar) and biological brother Aaron (Spencer Anapol), he flees to the desert.  Moses is taken in by Jethro (Aioleoge Lesa) and falls in love with his daughter Tzipporah (Rebecca Burroughs) before realizing that his destiny is to free the Hebrew slaves. Moses must return to Egypt and to Ramses, who is now the Pharaoh, for a confrontation that culminates with the parting of the Red Sea and a new understanding between the brothers. I was absolutely dazzled by the staging of the well-known biblical events. The basket carrying the baby Moses floats above the stage on a river made of silks, the burning bush is depicted by a series of ropes that represent the bonds that keep people enslaved (this symbolism is very powerful), the plagues are shown with different projections on gauzy fabric covering the stage and members of the ensemble (this is particularly effective), and the parting of the Red Sea is depicted with blue scrims that circle the stage (it is really cool). I also really loved the many elaborate set pieces (most of which are moved on and off stage by the ensemble) that bring ancient Egypt to life, including the chariots that race above a traditional market and a temple, the throne room, a secret room in the palace, a royal barge on the Nile, a well in the desert, Jethro's tent, and various construction sites and ruins. The costumes are gorgeous and feature muted colors for the Hebrews, vibrant colors and patterns for Midianites, and luxurious fabrics for the Egyptians.  However, I was especially impressed by how director Dave Tinney was able to find the perfect balance between the spectacle and the intimate story being told. The technical wizardry is fun but, in my opinion, the story is at its best whenever it focuses on the relationship between Moses and Ramses, especially in the songs "Faster," "Make It Right," and "Always On Your Side."  The main cast is outstanding but Kelso's renditions of "Footprints on the Sand" and "For the Rest of My Life" are incredibly poignant and Nandkeshwar and Burroughs sing "When You Believe" so beautifully. The multicultural members of the ensemble, most of whom play multiple roles (Hebrews, Egyptians, and Midianites), do a great job with the choreography and I especially loved "Deliver Us" because it is very powerful and "Through Heaven's Eyes" because it is so exuberant. There is definitely a focus on the human relationships rather than the divine and some might not like that but I did and would highly recommend this beautiful production. It runs on the Young Living Centre Stage through April 12 but almost all of the performances are sold out so act quickly (go here for tickets).

Note:  I can also highly recommend Little Women which is currently on the Sorenson Legacy Jewel Box Stage through April 23 (go here for tickets).

2025 Star Awards

Last night I attended the Benefit Gala for SCERA's Endowment for the Arts as a recipient of one of the Star Awards.  I was honored as a Friend of the Arts and it was an incredible event that I won't soon forget!

The theme was the Wild West and all of the decorations were so fun!

The evening began with a silent auction (there were some cool items to bid on) and then we had a dinner in the lobby provided by the UVU Culinary Arts Institute which included a salad of crisp frisee, grape tomatoes, a blue cheese wedge, bacon lardons, and shallot vinaigrette, a main course of herb & goat cheese stuffed chicken breast, creamy mashed potatoes, broccolini, baby carrots, and crispy red onion, and for dessert there was an amazing chocolate peanut butter cake.

After dinner there was a live auction (I wanted the Jazz tickets but they were way out of my price range) and then we moved into the theatre for the program and the Star Awards.

There was a beautiful slide presentation narrated by radio and TV personality Casey Scott for each of the recipients before we received our awards (and then we had to give a speech!).

Both of my sisters, my brother-in-law, my nephew, and a dear friend were there to support me and that really meant a lot to me.  There were also some lovely tributes from several of my friends and former colleagues printed in the program and these actually brought tears to my eyes when I read them.  I am so grateful to SCERA for all of the preparation and care that went into such a wonderful evening and I want to thank them for giving me an award for simply doing what I love!

Note:  The program included entertainment between the awards and we got a sneak peak of The Wizard of Oz (SCERA's next production).  Both of my sisters were so impressed they want to come see it with me!

Rodgers & Hammerstein's Cinderella at The Ruth

Last night I saw the Rodgers & Hammerstein version of Cinderella at The Ruth.  This is the first production in the more intimate Lindsay Legacy Theater and, as with the Scott & Karen Smith Grand Theater, I was really impressed with this wonderful new venue (lots of leg room).  This show features a contemporary update to the well-known fairy tale with a social reforming Cinderella (Hailey Bennett Sundwall) who rescues Prince Topher (Jeff Sundwall) from the Lord Protector (Kyle Harper) who is deceiving him about the conditions in his kingdom, a feminist Fairy Godmother (Michelle Sundwall) who tells Cinderella that it's up to her to make her own dreams come true, and a Stepsister (Jaymie Lambson) who eventually becomes a sympathetic conspirator with her own romance with the revolutionary Jean-Michel (Brock Harris).  I am not a huge fan of this version because I think it is very contrived with messages, however laudable, that are shoehorned into the story but there is so much to love about this production.  The set is absolutely magical!  There is a backdrop that looks like an illustration from a storybook with vines covered in lights that blink on and off and change color to coincide with all of the transformations (the effect is spectacular).  There are beautiful set pieces, which have an autumn color palette, that are moved on and off the stage by the ensemble and my favorites are the trees used in the pursuit of Cinderella after the ball.  The costumes are gorgeous!  I loved Cinderella's sparkly ball gown as well as the Fairy Godmother's gown (the transformations into these gowns are a lot of fun) but I was also impressed by the uniforms worn by Topher and his guards.  The puppets used for the Fox and Raccoon (with puppeteers Maggie Scott and Emily Runyan Manning, respectively) are clever as are their transformations and the portrayal of Topher's horse Buttercup is quite humorous (every production I've seen has portrayed the horse in a different way).  The performances are amazing!  The three leads (who are husband and wife and mother and son) do a lovely job with "In My Own Little Corner," "Impossible," "It's Possible," "Ten Minutes Ago," "There's Music in You," and "Do I Love You Because You're Beautiful" and I also really enjoyed "Stepsister's Lament" by Karlena Nielson because her rendition is really funny.  Finally, the choreography is dazzling!  I particularly enjoyed the patterns created in "Now Is the Time/ The Prince is Giving a Ball," the romance in "Ten Minutes Ago," and the chaotic energy in "The Pursuit."  This may not be my favorite show but I enjoyed what The Ruth did with it and would recommend getting a ticket (go here).  It runs through May 3.