My Fair Lady at HCTO

Last night I went to see My Fair Lady at HCTO and it was loverly!  Professor Henry Higgins (Ryan Shepherd) encounters a Cockney flower girl named Eliza Doolittle (Ashley Gardner Carlson) outside Covent Garden and boasts to his friend Colonel Pickering (Ben Parkes) 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 becomes a lady when she compels Higgins to treat her like one!  Every member of the cast is superb!  Shepherd is possibly the best Higgins I've ever seen and I really enjoyed his dynamic characterization and energy in the songs "I'm an Ordinary Man," "The Rain in Spain," and "A Hymn to Him."  I also really enjoyed his poignant rendition of "I've Grown Accustomed to Her Face" and his delivery of the final line to Eliza because it kind of changes the vibe of the ending (in a good way).  Carlson is the perfect Eliza because she is so elegant and sings and dances beautifully.  Her versions of "Just You Wait," "Show Me," and "Without You" are incredibly feisty but "Wouldn't It Be Loverly" and "I Could Have Danced All Night" are filled with so much joy.  Parkes provides a lot of the comic relief as Pickering and I laughed out loud when he becomes overwrought before the ball.  Jordan Strong is delightful as Freddie Eynsford-Hill and the way he sings my favorite song in the show, "On the Street Where You Live," is so romantic!  Finally, I absolutely loved Daniel Hess as Alfred P. Doolittle because he has a glint in his eye and his performances in "With a Little Bit of Luck" and "Get Me to the Church" are so fun and exuberant!  Rather than an elaborate library, the set features the exterior of Henry Higgins' house on Wimpole Street (I loved the flowers, columns, and gas lights) and the props used for Higgins' study are cleverly moved on and off stage by members of the ensemble dressed as servants (they are also used to great effect in "Poor Professor Higgins").  The costumes are gorgeous, especially those worn at Ascot (the use of gray rather than the usual black and white is a fun twist) and at the Embassy Ball (Eliza's pink gown is stunning).  I don't think the smile left my face during the entire show and I highly recommend it because it is one that everyone will enjoy.  It runs through November 23 (go here for tickets).

Note:  I enjoyed this so much more than the Lincoln Center production I saw at the Eccles last year.

The Outrun

I liked but didn't love The Outrun when I saw it at Sundance so I was eager to see where I would land after a second viewing at the Broadway last night.  Rona (Saoirse Ronan) is a graduate student in biology living in London when her drinking becomes problematic.  She hits rock bottom when her boyfriend Daynin (Paapa Essiedu) leaves her and she is physically assaulted while on a bender.  After a 90-day stint in rehab she returns home to the Orkney Islands in Scotland but her relationships with her father Andrew (Stephen Dillane), who is struggling himself with bipolar disorder, and mother Annie (Saskia Reeves), who believes that prayer is the answer, are complicated and she relapses.  She eventually retreats to a remote island north of Orkney where she takes inspiration from nature to become sober.  The first time I saw this I really struggled with the nonlinear timeline (it was a late screening and I was tired) but this time around I thought it was an effective way to portray Rona's disorientation and it made a lot more sense to me.  It is definitely a slow burn as Rona makes connections between herself and the landscape but the sequences on the island are beautiful and I was riveted by them.  I especially loved the use of the corn crake (the endangered bird she searches for while working for the Royal Society for the Protection of Birds) as a symbol for her journey to sobriety, especially in the final shot.  Ronan is absolutely brilliant (it is one of my favorite performances from one of my favorite actresses) because she very credibly depicts so many different aspects of her character: wild and exuberant as a party girl in London, mean and combative when confronted by her behavior, tearful and apologetic when begging her lover not to leave her, and brooding and contemplative as she reconciles everything that has happened to her.  I loved the scene where she interacts with the waves crashing on the beach because it is surprisingly powerful and emotional.  I definitely appreciated this more than I did at Sundance and I highly recommend it for Ronan's stellar performance.

A Different Man

I had plans to see A Different Man at Sundance this year but I ended up seeing something else at the last minute and I kind of regret that decision.  Luckily it is now playing at the Broadway and I got to see it as part of a double feature last night.  I enjoyed this surreal black comedy even more than I was expecting.  Edward Lemuel (Sebastian Stan) is an actor with a facial deformity caused by neurofibromatosis who struggles to interact with other people, especially a playwright named Ingrid (Renate Reinsve) who lives next door, because of an extreme lack of confidence.  He volunteers for an experimental drug that could cure his condition and, when it works, he fakes his suicide and starts a new life as a handsome and successful real estate agent named Guy Moratz.  Several years later he discovers that Ingrid has written a play about Edward and he impulsively auditions using a mask of his old face.  Ingrid casts him, and begins a relationship with him, but struggles with the authenticity of her decision because, even though Guy embodies Edward's insecurities, he is not deformed.  Complications ensue when Oswald (Adam Pearson), a confident and charismatic man with neurofibromatosis, appears and replaces him in the play and in Ingrid's life.  The tone is all over the place with elements of body horror, dark comedy, science fiction, and romance but I love that it subverts expectations about identity and what makes someone a good person.  Stan, in some fantastic prosthetics during the first act, gives an incredibly nuanced performance as a man who gets what he thinks he wants and then comes undone when he realizes that it didn't change anything while Pearson, who has neurofibromatosis, is enchanting as his foil.  Not everything works (I'm still trying to figure out why so many things drop from the ceiling) but this is both thought-provoking and highly entertaining.

Sister Act at the Terrace Plaza Playhouse

Last night I went to see Sister Act (which is probably my favorite musical based on a popular movie) at the Terrace Plaza Playhouse and, unfortunately, the negative experience I had watching it marred an excellent production. When Deloris Van Cartier (Olivia Lusk) accidentally witnesses her gangster boyfriend Curtis (Jacob Draper) kill someone, Detective Eddie Souther (David Simon) decides to hide her in a convent to keep her safe until she can testify against him. She wreaks havoc on the peaceful life there so, in exasperation, the Mother Superior (Melinda Cole Welch) has her sing in the choir with unexpected results. However, the choir's notoriety puts both Deloris and the convent in danger. My favorite aspect of this production is the beautiful set featuring a backdrop with Gothic arches and stained glass windows and panels that rotate to become the police station and Souther's apartment. Set pieces on each side of the stage are used for the Mother Superior's office and the sanctuary of the church while large wooden bleachers are brought on stage for "Raise Your Voice" as the nuns learn how to sing and movable chain link fence panels add a lot of fun to the song "I Could Be That Guy." Lusk is an appealing Deloris because she is sassy but also sympathetic and I loved her renditions of "Fabulous, Baby" and "Sister Act." All of the nuns (Kaylee Wheeler, Jen Petersen, Carla Zarate, Holly Lowell, Cathrine Washburn, Erin Roring, Melissa Virgin, and the rest of the ensemble) do a really great job singing and dancing in "Take Me to Heaven," "Sunday Morning Fever," and "Spread the Love Around" and I loved seeing them maintain all of their quirky mannerisms in these big numbers. My favorite nuns were Zarate as Sister Mary Lazarus because her facial expressions are hilarious and Petersen as Sister Mary Patrick because she is so over the top (I laughed out loud when she twirled her rosary). John Lee Roring, Matt Ford, and Jordan Wheeler, who play Curtis's henchmen, steal the show in "When I Find My Baby" and "Lady in the Long Black Dress" with their leisure suits and disco moves (I laughed out loud again when Roring rolled around on the stage). Another shoutout goes to David Hales as Monsignor O'Hara because it seems like he is channeling Elvis as the emcee for all of the choir's performances. The costumes are a bit more subdued than I usually see in this show but the nun's habits and the monsignor's vestments do get bedazzled for the finale. I would have really enjoyed this production were it not for the inappropriate behavior of a large group of students in attendance who were running around (one student even walked across the stage during the show), talking loudly, filming, putting their feet up on the seats in front of them, and screaming at the top of their lungs (the couple next to me started plugging their ears at the end of every number because it was so loud). I have no problem with students attending live performances (I took students all of the time when I was teaching) but they need to be reminded about theatre etiquette and monitored by their chaperones.  The only reason I did not leave at intermission is because the show is really fun and I do recommend it (go here for tickets). There are performances on Mondays, Fridays, and Saturdays through November 16.

White Bird

After multiple delays White Bird is now finally in theaters and I was excited to see it last night.  It is an incredibly moving story about the power of kindness that, unfortunately, is very relevant today.  Julian Albans (Bryce Gheisar) is at a new school after being expelled for bullying a boy with a facial disfigurement.  When he witnesses the bullying of another student he does nothing to intervene because, as he tells his visiting grandmother Sara (Helen Mirren), he just wants to keep his head down so he can fit in.  This attitude worries Sara so she decides to tell him about her experiences as a Jewish girl in Nazi-occupied France during World War II in order to emphasize the need to take action against injustice.  This framing device (a reference to Wonder) connects to flashbacks of a young Sara (Ariella Glaser) and her classmate Julien Beaumier (Orlando Schwerdt) as he helps her escape from a Nazi roundup of Jewish children and hides her in his family's barn with the knowledge of his parents (Gillian Anderson and Jo Stone-Fewings) despite great personal risk.  I really love that Julien consciously makes the decision to be kind even though Sara and her friends ostracized him for having a crippled leg and that his kindness is an act of bravery with increasingly dangerous stakes because that is a very powerful message.  I also love how the relationship between Julien and Sara is developed because I really cared about their characters and was totally invested in their fate (I cried several times).  Helen Mirren and Gillian Anderson can always be relied upon to give outstanding performances but I was especially impressed by the two young leads.  The cinematography is beautiful, especially the scenes where Julien and Sara use their imagination to figuratively escape from the barn, and the score, particularly a song the characters sing throughout, is haunting.  I think everyone needs to see this movie to be inspired to be a light in a world of increasing darkness.

Utah Hockey Club vs. Colorado Avalanche

I still cannot believe that Utah now has an NHL team!  I was beyond excited to see a preseason game between the Utah Hockey Club and my favorite team yesterday.  I usually have to drive eight hours to see the Colorado Avalanche in action but yesterday it only took about 20 minutes to get to the Maverick Center (it will be even closer when Utah plays in the Delta Center).  I went to the game with my sister Kristine, who has already become a rabid Utah fan, and it was so much fun even though we were cheering for different teams!  There were not a lot of goals scored but the game was still really exciting because of the goaltending by Connor Ingram, especially during the three Utah penalties in the third period because Colorado really put the pressure on.  Utah eventually got the 2-1 win but, even though I was sad to see the Avalanche lose (the preseason has been a disaster for them), I have to admit that I enjoyed seeing the home team for the first time (I never really followed them when they were the Arizona Coyotes).  Besides Ingram, I was really impressed by Dylan Guenther, who got a goal and an assist, and Nick Schmaltz, who got the go-ahead goal.  I will always be a Colorado Avalanche fan but I think I am going to have a lot of fun cheering for Utah this season!

Something Rotten at the Empress Theatre

I am a big fan of Something Rotten (it is full of references to William Shakespeare and musical theatre which means that it was pretty much written for me) so I was really excited to see it at the Empress Theatre last night. This now ranks as one of my favorite productions at this theater because I absolutely loved it! Nick and Nigel Bottom (Sonny Payne and Jonas Stone, respectively) are playwrights in London during the Renaissance but they are not having much success. Their patron, Lord Clapham (Stratford Healey), is withdrawing his financial support, Shylock (Raiden Yocom) is demanding the payment of a loan, Nick's wife Bea (Taylore Cahoon) is pregnant, and Nigel has fallen in love with Portia (Eliza White), the daughter of a Puritan (Taylor Brooks) who wants to shut down the theaters for debauchery, but, even worse, they are constantly overshadowed by the immensely popular William Shakespeare (Bradley Barker). They desperately need a big hit so Nick consults Nostradamus (Caden Terry) to see what will be popular in the future. Nostradamus suggests writing something with singing and dancing in my favorite number, "A Musical." Things go slightly awry when Nick asks Nostradamus to look into the future again to see what Shakespeare's most popular play will be and, instead of Hamlet, he sees omelette (so close!). Nick tries to produce Omelette: The Musical while Shakespeare tries to steal his play back. It is so much fun to try and spot all of the references to Shakespeare's plays (my favorites are Richard III in the song "Will Power" and a quote from The Merchant of Venice during the courtroom scene) and to musical theatre (my favorites are RENT and Les Miserables in "A Musical" and The Lion King in "Make an Omelette"). I laughed out loud every time I noticed something new (I was the only one laughing hysterically at a reference to Falstaff). This is one of the strongest casts I've seen at this theater with so many standout performances. I particularly loved Terry as Nostradamus because his physicality as he predicts the future is completely over the top, Barker as Shakespeare because he is such a rock star as a he struts around the stage for his adoring fans (his facial expressions killed me), and Brooks as Brother Jeremiah because his delivery of the innuendo-filled dialogue is hilarious! I also really liked Cahoon's voice and her rendition of "Right Hand Man" was a highlight for me. Another aspect of this production that is outstanding is the high-energy choreography, especially in "Welcome to the Renaissance," "A Musical" (which mimics the choreography from some well-known shows), "Bottom's Gonna Be on Top," and "Make an Omelette." I was really impressed by the dancing from the ensemble because they do an amazing job (I, of course, loved all of the tapping because it is always so fun to watch). The minimal set is very effective and the elaborate Renaissance costumes are fantastic! I cannot recommend this show enough because it is definitely a fun night out (go here for tickets). It runs Thursdays, Fridays, and Saturdays through October 19.

My Old Ass

I enjoyed My Old Ass at Sundance this year so I was excited to see it again with my nephew (a big fan of Aubrey Plaza) at the Broadway last night.  He didn't like it as much as I thought he would but I loved this poignant (and often hilarious) coming of age story even more the second time.  Elliott Labrant (Maisy Stella) is restless and eager to leave her family's cranberry farm in rural Ontario for the excitement of attending university in the big city of Toronto.  She celebrates her eighteenth birthday by ingesting mushrooms while camping with her best friends Ro (Kerrice Brooks) and Ruthie (Maddie Ziegler) and, during a hallucination, she meets the 39-year-old version of herself (Plaza).  Older Elliott advises her to wear her retainer and moisturize, to treat her mom (Maria Dizzia), dad (Al Goulem), and brothers Max (Seth Isaac Johnson) and Spencer (Carter Trozzolo) better, and to avoid someone named Chad at all costs.  Elliott follows her advice and realizes that she has been taking her family for granted and that she should appreciate the time she has left with them before leaving but complications arise when she meets Chad (Percy Hynes White) and starts to fall in love with him.  Older Elliott contrives to visit her again to warn her that loving Chad will lead to heartbreak but her younger self teaches her a valuable lesson about being open to possibility.  I really loved the story because it is beguiling to think about what you might say to your younger self if given the chance.  Plaza is as humorous as ever with her usual deadpan delivery but she has a moment of vulnerability that is really affecting.  Stella is incredibly charismatic and she portrays all of the emotions her character experiences in a very natural and believable way (some scenes are heartwarming while others, including a hallucinogenic performance of "One Less Lonely Girl" by Justin Beiber, are laugh out loud funny).  She also matches Plaza's energy perfectly in their scenes together.  Finally, I loved seeing all of the beautiful scenery around Lake Joseph in Ontario (I am originally from Ontario) where the movie is set and was filmed.  This was an audience favorite at Sundance and one of the best coming of age movies I've seen in recent memory.  I highly recommend it!

Lee

Last night I went to see Lee at the Broadway because I will see any movie about World War II starring Kate Winslet!  It begins in 1977 with an unidentified young man (Josh O'Connor) interviewing the model turned photojournalist Elizabeth "Lee" Miller (Winslet) about about her experiences during the war.  At first she is somewhat recalcitrant but eventually describes, through flashbacks, meeting her future husband Roland Penrose (Alexander Skarsgard) while staying with her friend Solange D'Ayen (Marion Cotillard) in the south of France, moving with him to London, taking a job as a photographer working for Audrey Withers (Andrea Riseborough) at British Vogue, documenting the Blitz at the beginning of the war, fighting to be allowed to go to the front, and collaborating with fellow photographer David Scherman (Andy Samberg) to take photos of the Battle of St. Malo, the liberation of Paris, and the opening of the Dachau and Buchenwald concentration camps.  She is traumatized by the horrors she sees at the camps but is even more frustrated by the fact that British Vogue refuses to publish her photos of what happened there and this eventually impacts her future relationships (which is shown when the identity of the man interviewing her is revealed).  Winslet is a brilliant actress and I read that she worked for nine years to get this movie made so it is definitely a passion project for her but I didn't like it as much as I thought I would because I didn't really connect to the character.  Miller is more concerned with telling the stories of her subjects than her own and Winslet portrays her with a stoicism (until an incredibly heartbreaking confession in the third act) that is probably accurate for the character but alienating for the audience.  My favorite performance is from, of all people, Samberg because his reaction to the camps as a Jew is very emotional.  I also really enjoyed seeing all of Miller's famous photos recreated throughout the movie and then shown next to the originals during the credits.  I was so excited to see this but, even though I didn't hate it, I ended up feeling a bit disappointed by how hollow it is.

Joker: Folie a Deux

I am a huge fan of Joker so I was really excited to see its sequel, Joker: Folie a Deux, at an early access screening in IMAX with my nephew last night.  Unfortunately, it was a mixed bag for me (and a big miss for my nephew).  Arthur Fleck (Joaquin Phoenix) is now a prisoner at Arkham State Hospital where he is taunted by an abusive guard named Jackie Sullivan (Brendan Gleeson).  He meets fellow patient Harleen "Lee" Quinzel (Lady Gaga), who is obsessed with him, during a music therapy class and they often retreat into a world of fantasy to cope with the grim reality of their situation.  However, Fleck's trial is looming large and the newly elected district attorney Harvey Dent (Harry Lawley) is seeking the death penalty.  His lawyer Maryanne Stewart (Catherine Keener) wants to use an insanity defense arguing that Fleck created the Joker as a completely separate personality in order to cope with the abuse he suffered all of his life and that it was the Joker, not Fleck, who committed the crimes.  However, Lee is enamored with the Joker 's celebrity and views him as a hero to the downtrodden of Gotham so Fleck thinks he should embrace the Joker persona to impress her.  The visuals are gorgeous (I loved the use of silhouettes) and the score by Hildur Gudnadottir, which is haunting and melancholy, really adds to the atmosphere.  I also really enjoyed the musical dream sequences (my favorite is "Gonna Build a Mountain" in the club where Fleck suffered his greatest humiliation) because they allow Fleck to fully express himself as the Joker.  Phoenix and Gaga are incredibly compelling as broken people who enable each other's madness and I was particularly impressed with how Gaga changes her vocal performance from hesitant as Lee to powerful as Harley Quinn.  My biggest problem is that the narrative takes a big swing by allowing the Joker to take center stage but then it doesn't commit to it in the third act (a recurring problem with many movies this year).  The ending, particularly the final scene between Fleck and Lee, returns to the theme that Arthur is merely a victim of societal decay, which is already thoroughly explored in the first movie, thus making this sequel completely unnecessary because it doesn't ultimately add anything new to the character.  It is very disappointing because the set up is there (my nephew explained how it should have ended and, honestly, I would have rather seen his edit).  Ugh!  There are elements that make this worth seeing but I think a lot of people might be disappointed with it.

The Woman in Black at Parker Theatre

I was so excited for The Woman in Black at Parker Theatre last night because I had never seen it before (despite the fact that it is the second longest running play in the West End after The Mousetrap). It is based on the Gothic horror novel of the same name by Susan Hill but it has a really clever twist. It is also incredibly scary because I almost jumped out of my seat at one point (I'm surprised I didn't scream). Arthur Kipps (Michael Hohl) is still traumatized by an encounter with an apparition that he had many years ago while settling the estate of Alice Drablow at a desolate and secluded mansion. He believes that he can rid himself of the nightmares that plague him by telling the story publicly on stage so he hires an Actor (Lucas Charon) to help him. The Actor convinces him that it would be better to act out the story rather than recite it from a manuscript so they begin rehearsing in a Victorian theatre using minimal props, realistic sound cues, and imaginative light design.  The Actor portrays a younger version of Kipps while he portrays all of the other characters and narrates the play. The action on stage shows Kipps attending Drablow's funeral, traveling to her house in an old-fashioned pony and trap, working alone in the eerie house, and witnessing unsettling events including the appearance of a strange figure dressed in black. They stop in between scenes to discuss their performances and, during one such break, Kipps promises a surprise. The Actor interprets this to mean that Kipps hired the actress who suddenly appears on stage as the woman in black. The action concludes when the young Kipps discovers the identity of the mysterious figure and when the Actor makes a startling realization about the actress portraying her. I absolutely loved the stagecraft used to create an unsettling atmosphere because it is amazing what just the sound of a door creaking or the appearance of shadows on a scrim can do to the imagination. The woman in black only appears a few times (one of those times was when she seemed to come from nowhere to stand right next to me in the aisle) and this is incredibly effective because it was terrifying every time I thought I saw her in the shadows. Charon's performance does much to add to the unease because his terror is palpable, especially when his only source of light is a torch in the almost pitch black darkness of the marsh. I was also quite impressed with how seamlessly Hohl inhabits all of the characters he plays with just a simple change of costume right on stage. This is one of the scariest shows I've ever seen (and I loved being scared) so it is perfect for this spooky season! It runs on Fridays and Saturdays through November 2 (go here for tickets).

Megalopolis

I have been eagerly anticipating the release of Megalopolis ever since it was screened at Cannes and TIFF (to say that it was polarizing would be an understatement) and I finally had the opportunity with my nephew at the Broadway last night.  It is really something!  The city of New Rome is in decline and the many political, economic, and industrial leaders disagree about how best to serve the population.  Franklyn Cicero (Giancarlo Esposito), the mayor of New Rome, represents maintaining the status quo even though he is clearly ineffective and unpopular.  Hamilton Crassus III (Jon Voight), the CEO of the Crassus National Bank, represents unchecked wealth which he uses to distract the populace with decadent spectacles.  Clodio Pulcher (Shia LaBeouf), Crassus's dissolute grandson, represents the misuse of power and creates scandals to discredit those against him and uses rhetoric to stir up discontent within the populace.  Cesar Catilina (Adam Driver), a visionary architect, represents change and wants to use a revolutionary material that he created to build a utopian city.  Wow Platinum (Aubrey Plaza), a TV host, pits Crassus and Pulcher against each other in a bid for wealth and power while Julia Cicero (Nathalie Emmanuel), a socialite and the mayor's daughter, eventually brings her father and Catilina together with hope for the future.  The story is compelling and thought-provoking, particularly the message about the importance of progress, but it is told in a very chaotic way (I'm still trying to decide if it was done deliberately to emphasize the obvious parallels to the corruption, division, and instability of ancient Rome) with meandering subplots, unnecessary characters, and an uneven tone.  The visuals are often stunning but I did not like the score because it is very melodramatic.  I enjoyed all of the performances (I'm still trying to decide if the casting of problematic actors LaBeouf and Voight was done deliberately to highlight the depravity of the characters they play) but Driver, who always has a striking screen presence, is amazing because his physicality and unusual line deliveries are captivating and Plaza steals every scene she is in.  This will definitely not be for everyone but, while I had several issues with it, I mostly enjoyed it and want to see it again.  My nephew loved it and talked about it very animatedly the whole drive home.

Note:  Some IMAX screenings have a member of the audience pose an interactive question to Catilina to mimic an actual press conference.  I was ready to volunteer but my screening just had a voiceover during that scene.

The Wild Robot

Last night I went to see The Wild Robot and, even though I had heard great things about it, I was unprepared for just how powerful and emotional it is and for how much I loved it!  A robot named Roz (Lupita Nyong'o) is stranded on an uninhabited island after the cargo ship transporting her from the factory runs aground during a typhoon.  She searches the island for a task to complete, which is her purpose, but most of the animals run from her in fear.  When she accidentally destroys a goose nest, the only surviving gosling imprints on her and, with a little help from a mischievous red fox named Fink (Pedro Pascal), a harried mother opposum named Pinktail (Catherine O'Hara), an understanding falcon named Thunderbolt (Ving Rhames), a wise goose named Longneck (Bill Nighy), a misunderstood Beaver named Paddler (Matt Berry), and a ferocious grizzly bear named Thorn (Mark Hamill), she reluctantly takes on the tasks of feeding Brightbill (Kit Connor) and teaching him to swim and fly.  The story may be simple but it is compelling and very moving (I had tears in my eyes multiple times).  One of the themes that I really loved is that it is sometimes better to abandon everything you think you know and trust what you feel because Roz must overcome her programming in order to succeed with Brightbill.  I also loved the theme of acceptance because both Roz and Brightbill are shunned for being different but they both eventually save their community because of those differences.  In addition, Roz's experiences as a mother are incredibly powerful, especially when she realizes that she must ultimately let Brighbill go after teaching him to fly.  The animation is visually stunning with an evocative score to match and all of the vocal performances are highly nuanced (I was particularly impressed with Nyong'o because Roz's voice noticeably changes as she moves beyond her programming).  The hype is definitely real with this beautiful movie and I highly recommend it to everyone!

Jersey Boys at PTC

I grew up listening to the music of The Four Seasons because my dad was a huge fan. The first time I saw the Broadway touring production of Jersey Boys I knew my dad would love it so I bought tickets for him to see it the next night during intermission. He enjoyed it so much that I took him to see it again for Father's Day when the touring production came back to SLC. It was, therefore, really bittersweet to see it at PTC last night without him but I loved what they did with it and had to stop myself from singing along to every song! This jukebox musical (one of the best jukebox musicals I've seen) tells the story of how The Four Seasons went from four blue-collar guys singing under a streetlamp in New Jersey to global superstars and then how the pressure of fame caused it all to fall apart. Each member of the group, including Frankie Valli (Trevor James), Bob Gaudio (Daxton Bloomquist), Nick Massi (Brent Thiessen), and Tommy DeVito (Adam Enrique Hollick), narrates the story from his perspective because everyone remembers it the way they need to. The best thing about this show is all of the amazing music and I love how the lyrics of the songs mirror what is happening personally and professionally with the group. The four leads are incredible performers who sing and dance just like The Four Seasons and I was especially impressed with James because he captures Valli's falsetto perfectly. The ensemble is also outstanding because they all play multiple roles seamlessly with some quick costume and wig changes! What I love most about the Broadway production is the elaborate staging and, even though PTC's version is a bit more stripped down, it is still just as clever because the four of them often begin singing a song very simply and then set pieces move on stage around them and they put on jackets to depict the same song being performed on TV or a stage. I especially loved the staging of "Sherry" on American Bandstand, "Dawn (Go Away)" on The Ed Sullivan Show, "Can't Take My Eyes Off of You" in concert complete with a horn section, and "Rag Doll" (my favorite song by the group) at their Rock and Roll Hall of Fame induction ceremony. The reprise of "December, 1963 (Oh, What a Night)" after the bows is also a lot of fun because the audience was dancing in the aisles! This is such an entertaining show and fans of The Four Seasons are sure to love it (just be aware that there is a lot of profanity). It runs at PTC through September 28 and I highly recommend it (go here for tickets).

The Substance

After hearing all of the buzz about The Substance, my nephew and I were really excited (and a little nervous) to see it at the Broadway last night.  I think it is a bold repudiation of the beauty standards imposed on women, especially as they age, and it is absolutely bonkers.  Elisabeth Sparkle (Demi Moore) is an Academy Award-winning actress now relegated to hosting a morning exercise show on TV.  She is unceremoniously fired by her misogynistic boss (Dennis Quaid) on her 50th birthday and then gets into a car accident when she sees the show's billboard being taken down.  She receives information about a black market drug called "The Substance," which can create a younger and more beautiful version of anyone who uses it, while being treated at the hospital and eventually decides to order it.  She injects a one-time "Activator" and a new version of herself, who takes the name Sue (Margaret Qualley), is born from a slit in her back.  Elizabeth is rendered unconscious when Sue injects a daily "Stabilizer" extracted from her back but, because the two are connected, they must switch places every seven days.  Sue embraces life and achieves fame as Elisabeth's replacement on the exercise show when she is conscious while Elisabeth is forgotten and becomes more and more despondent when she is.  Sue ultimately abuses the established boundaries in order to have more time which results in a physical deterioration in Elisabeth and, ultimately, a bloody confrontation between the two.  This features some really gruesome body horror elements (the visual effects and prosthetics are incredible) and the last 20 minutes are wild once the feminine rage is unleashed (eliciting lots of nervous laughter from the audience).  The themes could not be more obvious but I enjoyed the extreme camera angles and close-ups on Sue's body to mimic the male gaze, the campy performances from the men in the cast (particularly Quaid) to highlight the double standards for women in the entertainment industry, the contrast between the vibrant neon colors and bright lights for Sue and the muted colors and low lights for Elisabeth to telegraph their worth in society, and the symbolism of having a bathroom as the setting to portray Elisabeth's insecurities and dissatisfaction with herself (it is so relatable). I also enjoyed the commentary on the price of fame because both Elisabeth and Sue are willing to do anything to stay in the spotlight and the sequences at Elisabeth's star on the Hollywood Walk of Fame are brilliant.  Finally, Moore gives the best performance of her career with a vulnerability that is often heartbreaking, especially when she views herself in a mirror.  I was blown away by this and highly encourage fans of the genre to see it in the theater.

Never Let Go

The reviews for Never Let Go have not been great but I was really intrigued by the trailer so I decided to see it last night.  Unfortunately, like several horror thrillers released this year, it begins well with an interesting premise and an escalating sense of dread but falls apart in the final act.  An unnamed mother (Halle Berry) lives in an isolated cabin in the woods, in what appears to be a post-apocalyptic timeline, with her twin sons Nolan (Percy Daggs IV) and Samuel (Anthony B. Jenkins).  She regularly reminds the boys of an omnipresent evil in the world, that only she can see which often takes the form of her abusive mother (Kathryn Kirkpatrick) or her deadbeat husband (William Catlett), and the only thing that can keep them safe from this evil is their home and the love they share.  When they venture into the woods to forage for food they must stay tethered to the house, literally with ropes, and recite an incantation before leaving and after they return (I wish this lore was explored more fully).  When supplies run low and the family faces starvation, Nolan starts to question everything his mother has told him.  Is the evil outside in the world or is it within the house?  I was really invested in the setup of a mother, who may or may not be suffering from delusions brought on by trauma, doing whatever it takes to keep her children safe and Berry does a great job at walking a tightrope between her character's protectiveness and unhinged paranoia.  Daggs and Jenkins are also very convincing and highly sympathetic, especially when the brothers disagree about the evil, because I didn't want anything bad to happen to either of them.  The atmospheric cinematography in the woods, the creepy production design inside the candle-lit house, and the menacing sound design create a palpable unease.  However, as with The Watchers, Longlegs, and Cuckoo, all of the tension is undone in the third act.  There is an M. Night Shyamalan type plot twist (that mirrors the one in The Village beat for beat) but the script doesn't commit to it and we are left with some incredibly confusing action sequences and a decidedly unsatisfactory resolution that leaves more questions than answers.  I found the ambiguity to be more disappointing than thought-provoking so I don't recommend this.

The Eagles at the Sphere

Seeing U2 at the Sphere was an incredible experience so when I heard that the Eagles would be doing a residency there I knew I had to get a ticket.  I took a road trip to Las Vegas for the first show Friday night and it was absolutely amazing!  I ended up sitting by some people from Virginia who were big fans but had never seen the Eagles before and they were so excited.  While we waited for the show to start we tried to guess what the first song would be and they suggested "Take It Easy" because it was their first big hit and I thought it would be "Seven Bridges Road" because they often start with it but it was actually "Hotel California" which they usually perform during the encore!  I tried to prepare them for how immersive the three-dimensional images would look on the state-of-the-art screens but they just about lost their minds when a car on a dark desert highway appeared to drive right into the audience!  The images also take the audience through a dark corridor with burning sconces to check in and then to a courtyard for a feast.  It was seriously so cool!  I also really loved the visuals for "Witchy Woman" (the band performs in a haunted forest), "Tequila Sunrise" (the sun slowly appears through the clouds), "In the City" (apartment buildings get bigger and bigger until they surround Joe Walsh during an epic guitar solo), "New Kid in Town" (filmstrips featuring archival photos and videos of the band are configured and reconfigured into 3-D cubes), "Life's Been Good" (archival photos and videos spin around the band as they play), "The Boys of Summer" (a couple runs on a beach then they swim underwater), and "Life in the Fast Lane" (a car races along the Las Vegas strip).  They also performed "Lyin' Eyes," "Take It to the Limit," "Peaceful Easy Feeling," "I Can't Tell You Why," "Seven Bridges Road," "Those Shoes," "Already Gone," "Take It Easy," and "Rocky Mountain Way" with a live feed of the band performing on the screens (there is not a bad seat in the venue because all of the images appear at eye level).  The encore included an incredibly emotional version of "Desperado," with silhouettes of an orchestra performing behind a curtain, and "Heartache Tonight" (dedicated to JD Souther), with animated images of gambling.  Vince Gill is such a great addition to the band because, even though he doesn't necessarily sound exactly like Glenn Frey or Randy Meisner, it just somehow sounds right when he sings their songs.  I was also glad to see Deacon Frey back with the band (he looks so much like his dad and sounds a lot like him in the songs "Peaceful Easy Feeling" and "Already Gone").  Neither of them spoke to the crowd but they were heavily featured on the screens.  Don Henley provided most of the commentary (although Joe Walsh was predictably hilarious) and he joked that they were just the house band for all of the high-tech wizardry!  Just like with U2, this was another mind-blowing concert and I recommend getting a ticket (go here) during the residency (they keep adding more shows due to the overwhelming demand).

Note:  Hearing the audience singing along with "Hotel California" gave me goosebumps because it was so loud!

Transformers One

I am not a huge fan of the Transformers franchise (Bumblebee is my favorite and I liked Transformers: Rise of the Beasts well enough) but I thought the trailer for Transformers One looked like a lot of fun so I went to see a Thursday preview in IMAX last night.  I had a blast with this animated origin story detailing how friends Orion Pax and D-16 become the arch-enemies Optimus Prime and Megatron.  In the aftermath of war with the Quintessons, during which the original Primes were destroyed and the Matrix of Leadership was lost, Sentinel Prime (Jon Hamm) leads Cybertron from the underground city Iacon.  He frequently visits the surface to look for the Matrix of Leadership because it is needed to restore the rivers of energon.  Orion (Chris Hemsworth) and D-16 (Brian Tyree Henry), two of the many bots who are missing the cog that would allow them to transform, are forced to work in the energon mines but they are demoted to waste management because of a stunt.  Hoping to regain their status, they recruit fellow miners Elita-1 (Scarlett Johansson) and B-127 (Keegan-Michael Key) to go to the surface with them to find the Matrix of Leadership in order to impress Sentinel.  Instead, they discover a betrayal.  Orion, who wants to use the truth to unite all of the bots to work for change, and D-16, who wants to control them all to take revenge, disagree on what to do about this discovery which leads to an epic confrontation.  I really enjoyed the surprisingly engaging story (which also has deeper themes than I was expecting), the relationship between Orion and D-16 and their believable evolution from friends to enemies, the excellent voice work from Hemsworth (who really impressed me with his, er, transformation from a goofy optimist to a leader with gravitas), the dazzling animation (I especially loved the visuals on the surface), and the exciting action sequences.  I was actually really surprised by how much I liked this and think it might be my favorite in the franchise!  See it in IMAX if you can!

Merchant Ivory

The second documentary in my double feature at the Broadway last night was Merchant Ivory and, as someone who absolutely loved their movies as a teen and young adult in the 1980s and 90s, I found it to be fascinating.  This is a very straightforward look at the professional and personal partnership between director James Ivory and producer Ismail Merchant and how they, along with regular collaborators screenwriter Ruth Prawer Jhabvala, composer Richard Robbins, and costume designers Jenny Beavan and John Bright, revitalized the costume drama with some of the most acclaimed movies in cinematic history.  Despite being obsessed with A Room with a View, Howards End, and The Remains of the Day, I didn't really know very much about the filmmakers who made them so I enjoyed the discussion about the yin-yang dynamic in their partnership with Ivory being calm, cool, collected, and dedicated to the purity of his artistic vision while Merchant was loud, bombastic, passionate, and determined to work faster and cheaper.  I also loved the discussion about how most of their movies have subversive themes about the hypocrisy found in polite society juxtaposed with gorgeous production design.  It was fun to see all of the behind the scenes stills and footage from my three favorites but it was also really interesting to learn about the difficulties in making their earlier movies (I now want to watch Shakespeare Wallah after learning that they only had enough film for one take in the final climactic scene) and to see how different perceptions impacted their later films, particularly with Jefferson in Paris.  My favorite aspect of this documentary is all of the contemporary interviews with many of the actors they worked with, especially Rupert Graves, James Wilby, Hugh Grant, Samuel West, Vanessa Redgrave (who is an absolute hoot), Emma Thompson, and Helena Bonham Carter.  A common theme in these interviews is how difficult it was to work on one of their movies because of the limited budget (at one point Merchant was catering the food for the cast and crew himself) but they were always lured back to make another one because of the final product.  I definitely enjoyed this and recommend it to fans of Merchant-Ivory movies.