Paul McCartney in Las Vegas

I have loved Paul McCartney since I was in 5th grade.  It was then that I discovered a song called "Coming Up" and, even though I didn't actually know who sang it, I played it incessantly.  My dad said it was Paul McCartney and if I liked that song I should listen to the Beatles.  He presented me with his copy of Rubber Soul (he eventually gave me all of his Beatles records) and thus began my obsession with McCartney and the Beatles.  I have been lucky enough to see him in concert several times by now so I really debated whether or not I should get a ticket for his latest North American tour, especially since I would have to travel to get to a show.  I ultimately decided that I would be so sad to miss seeing him again and got a ticket for the show at Allegiant Stadium in Las Vegas (an incredible venue!).  I took a quick road trip this weekend (I had to drive in a torrential downpour for half of it) and, as is usually the case, I am so glad I did because the concert was amazing!  One of the reasons for my hesitation, besides the cost, was McCartney's voice.  He seemed to really struggle the last time I saw him but I think he sounded great Saturday night!  His voice was obviously not what it once was but I realized that it didn't really matter because he and the songs are so iconic.  He played for close to three hours with his usual band (Paul "Wix" Wickens on keyboards, Rusty Anderson on guitar, Brian Ray on bass, and Abe Laboriel, Jr. on drums) as well as an incredible horn section (Mike Davis on trumpet and fugelhorn, Paul Burton on trombone, and Kenji Fenton on saxophone and clarinet) and I was so impressed with his stamina because he sang and played either guitar or piano for every song (even when the band took a break).  He opened with "Help!" which whipped the crowd into a frenzy because this is the first time he has performed it solo.  He played quite a few other Beatles songs, including "Got to Get You Into My Life," "Drive My Car," "Getting Better," "I've Just Seen a Face," "Love Me Do," a beautiful acoustic version of "Blackbird," "Lady Madonna," "Being for the Benefit of Mr. Kite," "Something" while playing the ukulele as a tribute to George Harrison, "Ob-La-Di, Ob-La-Da" with lots of audience participation, "Get Back," and "Let It Be."  The older gentleman sitting two seats down from me was openly weeping for most of these but what reduced me to tears was when he played the new Beatles song "Now and Then" because it reminds me of my dad.  He played the usual Wings songs "Let Me Roll It," "Let 'Em In," "Jet," "Band on the Run," and "Live and Let Die" (complete with the most extensive pyrotechnics I've ever seen) but he also played "Letting Go" which I had never heard live before.  I loved hearing his solo songs "Coming Up" (obviously), "Come On to Me," "My Valentine" which he dedicated to his wife Nancy who was in the audience, and "Here Today" which he dedicated to John Lennon but my favorite moment was when he played "Maybe I'm Amazed" because I love this song so much (I also love watching Rusty play the guitar solo).  He ended the main set, as he often does, with a rousing rendition of "Hey Jude" and this was a lot of fun!  For the encore, he sang "I've Got a Feeling" with John Lennon using footage from the rooftop concert (this was really cool), "Sgt. Pepper's Lonely Hearts Club Band," "Helter Skelter," "Golden Slumbers," Carry That Weight," and "The End."  Seeing an artist that I have loved for most of my life was such an incredible experience and I will be on a high from it for a long time.

The Official Release Party of a Showgirl

I listened to The Life of a Showgirl the second it was released late Thursday night and my first reaction was that it is not Taylor Swift's best album and it is not my favorite Taylor Swift album but I liked it, especially "Opalite" and "CANCELLED!"  After a few more listens I started liking it more and more and "Elizabeth Taylor" and "Ruin the Friendship" joined my list of favorites.  After seeing The Official Release Party of a Showgirl in a packed theater with my sister last night, I now love the entire album, including "Honey" which was the only song I was still feeling lukewarm about, and I am even more convinced that Swift is a brilliant songwriter!  The premiere of the video for "The Fate of Ophelia," Marilyn's favorite song on the album, is included at the beginning after which Taylor describes the meaning behind the imagery.  I love how she embodies the ways in which women have been depicted through the ages, from subjects of Renaissance paintings to pin-up girls, cabaret singers, dramatic actresses on stage, dancers in Busby Berkeley spectacles, showgirls, and pop stars.  Lots of behind-the-scenes footage of the making the video is shown (it was fun to see all of the Eras Tour dancers again) and interspersed between these vignettes are lyric videos with introductions by Swift about the meaning and inspiration for each song.  I loved the metaphor comparing an opalite, a man-made version of a opal, to the way we can make our own happiness in "Opalite," still my favorite song on the album.  I was very surprised by my emotional reaction to her description of "Eldest Daughter" because I really related to what she said about perfectionism and not wanting to let anyone down.  The crowd laughed out loud when she said the innuendo-filled "Wood" is about superstitions with a big smirk on her face (the lyric videos feature the clean versions of the songs and some of the word changes also elicited much laughter).  Finally, her descriptions of "Wi$h Li$t" and "The Life of a Showgirl" really got me thinking that this might be a farewell album because, in the former, she says that all she wants now is to settle down with Travis and, in the latter, that she is passing the torch to Sabrina and a new generation of singers.  I basically spent $15 to see videos that will be available online Sunday night (Swift is a marketing genius) but I regret nothing because it was so much fun to be with lots of fans who were as excited about the new album as I was (a surprisingly broad demographic of people).  I will now be listening to The Life of a Showgirl on repeat for the foreseeable future.

Some Like It Hot at the Eccles

The 2025-2026 Broadway at the Eccles season began with a tap dancing extravaganza! I was really excited to see Some Like It Hot last night because I love the movie but had never seen the stage adaptation before. The musical follows the basic plot of the movie but it leans more heavily into the theme of identity and being true to yourself and I really liked it. During the Prohibition era in Chicago, two struggling musicians, Joe (Matt Loehr) and Jerry (Tavis Kordell), accidentally witness a mob hit by their boss Spats Colombo (Devon Goffman). In order to flee from the city without being caught, they are forced to disguise themselves as women, Josephine and Daphne, in order to join an all-female band, led by Sweet Sue (Dequina Moore), traveling to San Diego. Complications ensue when Joe disguises himself as an Austrian screenwriter to pursue the singer Sugar Kane (Leandra Ellis-Gaston), when the eccentric millionaire Osgood Fielding III (Edward Juvier) pursues Daphne, and when Spats eventually finds them. It turns out that Joe must discard Josephine and Kip von der Plotz and Jerry must embrace Daphne for them to find success and happiness. The choreography in this show is amazing! I am always impressed by tap dancing and I absolutely loved the dazzling performances in the dynamic high-energy numbers "You Can't Have Me (If You Don't Have Him)," "I'm California Bound," "Take It Up a Step," "Zee Bap," "Some Like It Hot," "Let's Be Bad" (the synchronization in this blew me away), "Dance the World Away," and "Baby, Let's Get Good." However, the number that impressed me the most is "Tip Tap Trouble" because the entire cast is involved in an epic chase sequence while tap dancing through constantly moving doors in the Hotel del Coronado. The precision and timing required for the complicated staging of this number is impressive, to say the least, and it is executed to perfection! Loehr and Kordell are outstanding dancers, especially when they dance in heels, and the ensemble is one of the best I've seen. This production features two powerhouse voices because both Moore and Ellis-Gaston just about blow the roof off the Eccles Theatre in "What Are You Thirsty For?" and "Ride Out the Storm," respectively. There are some really poignant moments, especially when Sugar sings about wanting to be a star in "At the Old Majestic Nickel Matinee" and when Osgood tells Daphne to just be herself in "Fly, Mariposa, Fly," but, like the movie, this show is really funny with lots of witty one-liners. I especially loved a running bit about how old Josephine looks but I laughed out loud at just about everything Osgood says and does (Juvier's hilarious performance is definitely one of the highlights). Finally, the Art Deco inspired sets and the glamorous costumes are a lot of fun. I had a blast watching this Tony Award-winning show and highly recommend getting a ticket (go here) for one of the five remaining performances.

Note: I have been sitting next to the same group of people ever since the Eccles Theatre opened (they have pretty much adopted me). This season they decided to give up one of their seats and my friend Angela was able to buy it. I had so much fun watching this show with her so I am really looking forward to the rest of the season.

The Lost Bus

Yesterday my nephew and I went to a matinee of The Lost Bus.  I didn't know anything about this movie until I saw a trailer last week (it seems like it is not being promoted at all) and I could only find one theater showing it (which was a bit out of the way) but I am glad I made the effort because both my nephew and I really liked it.  Kevin McKay (Matthew McConaughey) is a down on his luck school bus driver who has recently moved back to the city of Paradise in northern California to care for his disabled mother Sherry (Kay McCabe McConaughey) and to reconnect with his estranged son Shaun (Levi McConaughey).  When a devastating fire erupts after a downed power line ignites dry brush, the Cal Fire battalion chief Ray Martinez (Yul Vazquez) eventually orders a full evacuation of Paradise and the bus dispatcher Ruby (Ashlie Atkinson) requests a volunteer to collect 22 children who have not yet been picked up by their parents from a nearby school.  McKay volunteers because, even though he is worried about his mother and son, he has a contentious working relationship with Ruby and is hoping to redeem himself.  He gets the children and their teacher Mary Ludwig (America Ferrera) on board but, because the fire has spread rapidly and so many people are trying to evacuate at once, they become trapped and he must go to extraordinary lengths to get them to safety.  Director Paul Greengrass is known for frenetic hand-held camerawork that puts the audience in the middle of the action and I was practically holding my breath the whole time (my nephew said his heart was racing) because it is so intense!  The sound design is incredibly immersive because you can hear the fire crackling all around you and the visuals are fantastic (they are eerily realistic).  McConaughey does a great job portraying McKay's quiet heroism and his interactions with Ferrera and the children add emotional weight to the spectacle.  This will begin streaming on Apple TV+ October 3 but I think it is definitely a movie that should be seen on the big screen!

Satisfied

I began the month of September by seeing the proshot of Hamilton on the big screen so it is only fitting that I ended it by seeing Satisfied, a documentary about the actress who originated the role of Angelica Schuyler, last night.  Renee Elise Goldsberry always dreamed of being a mother and a Broadway star but pursuing one dream always made the other one more difficult.  This intimate portrait includes personal iPhone vlogs, interviews with colleagues and family members, and behind the scenes footage of the making of Hamilton from its beginnings as a workshop to its unprecedented success on Broadway as she chronicles her fight for both of her dreams.  She has early success on Broadway as Nala in The Lion King, Mimi in Rent, and the original Nettie in The Color Purple but struggles to get pregnant and suffers several miscarriages.  She is on a break from performing after finally giving birth to her son Benjamin and adopting her daughter Brielle when she is asked to audition for Angelica Schuyler in the workshop for Hamilton.  She turns it down multiple times but changes her mind after hearing a rough version of "Satisfied" and memorizes it in one day for the audition.  She makes the decision to sacrifice time with her family because she is incredibly passionate about the character and knows the show will become something special but it is demanding and her determination to be there for her children in the morning while performing every night takes a tremendous toll on her.  In one particularly poignant scene she is crying in her dressing room before a show because she is so tired but tells herself that she needs to get it together because people in the audience have paid so much money to see her.  In another she has her son come to her dressing room before a show so that she can spend more time with him but feels guilty after seeing him cry when the nanny comes to take him home.  However, there are also lots of joyous moments and I loved seeing footage of when the cast performed at the White House and the camaraderie of the "Ham4Ham" performances for the crowds outside the Richard Rodgers Theatre.  I was really impressed by her vulnerability and by the encouragement of her husband Alexis Johnson, especially when he says that he decided to do everything he could to support her after he heard her sing "Shadowlands" because that showed him that she has a talent that must be nurtured at all costs (it is my favorite song from The Lion King and hearing her sing it with the Utah Symphony brought me to tears so I understand his perspective).  The documentary concludes with a full-circle moment at the Tonys when she thanks God in an emotional speech for allowing her to have her children and the Tony Award.  Fans of Hamilton will love all of the never-before-seen footage from the show but this is also an inspiring story of resilience and perseverance that I highly recommend.  There are two more opportunities to see it in theaters (go here for tickets and information).

Dead of Winter

My nephew spontaneously joined me to see the action thriller Dead of Winter last night and we both really liked it (I liked it even more than I thought I would).  Barb Lindquist (Emma Thompson) is a recently widowed woman who runs a bait and tackle shop in northern Minnesota.  She embarks on a solo ice fishing trip to Lake Hilda, where she had her first date with her husband Karl, but gets lost in a blizzard and must ask for directions from a man (Marc Menchaca) at an isolated and dilapidated cabin.  She suspects that something is amiss at the cabin but continues on to the lake and reminisces about past fishing trips with her husband (Thompson's daughter Gaia Wise plays a young Barb and Cuan Hosty-Blaney plays a young Karl in flashbacks).  Her reverie is interrupted when she sees the man from the cabin restraining a young girl (Laurel Marsden) at gunpoint.  She follows them back to the cabin and, when she learns that the man and his wife (Judy Greer) plan to kill the girl (for reasons), she realizes that she is her only hope for rescue.  It was interesting to see Thompson in a role unlike anything she has done before (and initially a bit jarring to hear her speak with a Minnesota accent even though she pulls it off) and I was very impressed with her physical performance, especially during the final confrontation with Greer (also playing against type) on the frozen lake, as well as with the emotional depth she imbues the character without a lot of dialogue.  The action sequences are very compelling because Barb, as an older woman, is forced to use her ingenuity and both the stark winter landscape and the atmospheric score add to the tension.  I am a fan of movies featuring an ordinary person in extraordinary circumstances and this is a really good one.  It is a bit under the radar (we only found one theater showing it in our area) but it is worth seeking out.

Eleanor the Great

Last night my nephew and I returned to the Broadway (I have been there a lot this week) to see Eleanor the Great, Scarlett Johansson's directorial debut, and we both enjoyed it.  Eleanor Morgenstein (June Squibb) moves from Florida back to New York to live with her daughter Lisa (Jessica Hecht) after her longtime best friend Bessie (Rita Zohar) dies unexpectedly.  Her busy and distracted daughter signs her up for a class at the JCC but she accidentally ends up in a Holocaust survivor's support group.  When it is her turn to share with the group, she wants to explain the mistake but, because she feels so welcomed by the members, she tells Bessie's survival story as her own and this gets the attention of Nina (Erin Kellyman), a young journalism student grappling with the recent death of her mother who wants to profile Eleanor for an assignment.  They begin an unlikely friendship which helps Eleanor with her loneliness and Nina with her grief but it is tested when Eleanor's story takes on a life of its own and spirals out of control.  I think Eleanor's actions might be problematic for some, especially since it involves a very sensitive subject, and the resolution is a bit too convenient without much examination but Squibb is undeniably charismatic and delivers such a charming performance (one of her very best) that it compensates for many of the movie's flaws.  I also really enjoyed Kellyman's sensitive performance because it is a very authentic portrayal of grief (a scene where she smells the sweater that belonged to her mother is very moving and brought a tear to my eye) and a monologue by Zohar in the third act is incredibly powerful (I really liked that Bessie is the one talking about her experiences in flashbacks whenever Eleanor tells the story).  Much of this is very conventional, including the cinematography, editing, production design, and score, but I was charmed by the performances and think it is worth seeing for them.

Note:  My nephew was the youngest person in the theater and I was the second youngest!

Peter and the Starcatcher at the Empress Theatre

I think Peter and the Starcatcher is the perfect production for a small community theatre like the Empress because the show uses imagination to tell the backstory of Peter Pan so the set is usually very minimal and the actors pantomime much of the action and use ordinary objects as props like children do while playing make-believe. I saw the Empress Theatre's version last night and I absolutely love what they did with it because it is, well, very imaginative! Lord Aster (Brad A. Goodman), a "starcatcher," travels with a trunk of "starstuff" on a fast ship called The Wasp in order to destroy it before the pirate Back Stache (Alexander Richardson) and his first mate Smee (Gwen Jonsson) can steal it. His daughter Molly (Camille Bassett), an apprentice "starcatcher," is placed on a slower ship, The Neverland, with another trunk as a decoy and meets three orphan boys, including an unnamed boy (Koda Smith), while on board. When Molly discovers that the trunks have been switched, she convinces the orphans to help her complete her father's task. However, Black Stache also discovers the switch and attacks The Neverland which leads to a confrontation on an island, populated by hostile natives and enchanted by the "starstuff," during which Black Stache is transformed into the villain Captain Hook and the boy is transformed into the hero Peter Pan. I was impressed with some really clever staging and choreography, especially when cast members locate their costumes on stage and become their characters in front of the audience, when Black Stache attacks The Neverland with the Jolly Roger flag and uses it in a duel with the Union Jack, and when the crocodile appears from the balcony (with two red lights as eyes and strings of white bunting as teeth). I also loved all of the ingenious props (the model ships in bottles representing The Wasp and The Neverland and the hairbrush used as a microphone are so fun) and costumes (I laughed out loud at the iridescent fans used as mermaid tails and the woven placements worn by the natives). Everyone in the cast, many of whom play multiple roles, brings a childlike sense of wonder to their characters, especially Smith because he is incredibly vulnerable as Peter, Jonsson because she is so hilariously befuddled as Smee, and Zack Anderson because he (this role is always played by a man to great comedic effect) is very silly as Molly's nanny Mrs. Bumbrake. My favorite character in this show is Black Stache and Richardson definitely did not disappoint with his petulant facial expressions and over the top physicality, particularly in the scene when he loses his hand. I love this show (I think it is because, like Peter Pan, I never grew up) and I love this production because, more than any other version I've seen, it really does feel like a group of people who are using their imaginations to tell a story! I definitely recommend getting a ticket (go here) during its run through October 11.

One Battle After Another

I have been trying to keep my expectations in check lately because I have been disappointed by many of my most anticipated movies this year but it was really hard not to be excited for an early screening of One Battle After Another at the Broadway last night.  Luckily the hype for this is real because both my nephew and I loved it!  "Ghetto" Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (Teyana Taylor) are militants in a far-left revolutionary group known as French 75.  When the group rescues migrants from a detention center in California, Perfidia humiliates the commanding officer, Colonel Steven Lockjaw (Sean Penn), and he becomes fixated on her.  Pat and Perfidia begin a relationship and eventually have a daughter they name Charlene.  However, when a mission goes wrong, Lockjaw captures Perfidia which forces Pat and his daughter to go on the run and assume the names Bob and Willa Ferguson.  Lockjaw locates them living in a sanctuary city in Texas sixteen years later and, under the guise of a drug enforcement raid, he dispatches soldiers to capture Willa (Chase Infiniti) for reasons.  Deandra (Regina Hall), a French 75 member, arrives to warn them and Bob turns to Willa's karate sensei, Sergio St. Carlos (Benicio del Toro) for help rescuing her from Lockjaw.  This is an incredible spectacle with lots of twists and turns that kept me completely engaged and fantastic action set pieces that kept me on the edge of my seat, especially a suspenseful chase sequence involving three cars on an undulating road in the desert (the way this is filmed is absolutely brilliant because you never really know where the cars are in relation to each other and I was holding my breath the whole time).  This also had me and the rest of the audience laughing out loud, particularly the interactions between DiCaprio and del Toro and a running bit where Bob cannot remember any of the passwords used by French 75.  As funny as this is, the relationship between Bob and his daughter is really touching and the message about fighting for social justice is powerful.  DiCaprio is always great and Penn really leans into his character's villainy in one of his best performances but I was especially impressed with Infiniti because she delivers on both the emotion and the physicality (I really liked her character's arc).  This is one of Paul Thomas Anderson's most entertaining movies and it is one of my favorites this year.  I highly recommend it!

A Big Bold Beautiful Journey

I was on the fence about A Big Bold Beautiful Journey because the trailer didn't really do it for me but I ultimately decided to see it at the Broadway last night because I really like the director Kogonada (I think After Yang is brilliant) as well as actors Colin Farrell and Margot Robbie.  I should have trusted my instincts because I found this very disappointing.  David (Farrell) and Sarah (Robbie), both unhappy and alone, are compelled to rent the same 1994 Saturn SL from a quirky agency in order to attend an out of town wedding.  They meet and immediately decide that they are all wrong for each other but, when Sarah's car won't start, David offers to drive her home.  However, the GPS device (voiced by Jodie Turner-Smith) directs them to stop at various locations where they find doors that are really portals to various moments from their past, both real and imagined, which provide them with epiphanies intended to help them realize that they belong together.  I have to admit that this kind of movie is not really my thing but I think that even fans of the genre will find this as lifeless and boring as I did.  The premise of going back in time to learn from past mistakes is really intriguing but I could never figure out what the characters were meant to learn from these interludes because there are so many conflicting ideas and the filmmakers clearly think they are more profound than they actually are.  Farrell and Robbie are good actors but their performances in this are so bland (Phoebe Waller-Bridge and Kevin Kline are more interesting in their brief time on screen as employees of the car rental agency) and they have absolutely no chemistry (at no time did I think the characters belonged together).  The dialogue is incredibly contrived, even for a high concept film, and I started losing interest after yet another endless conversation about how wrong Sarah is for David.  Some of the visuals are gorgeous and I liked all of the Laufey needle drops but this was definitely a slog to get through and I recommend giving it a miss.

Sister Act at HCT

Last night I went to Sister Act at HCT and, even though I wasn't especially looking forward to it because I have seen it so many times, I had a lot of fun watching this production. The musical is based on the 1992 movie of the same name and follows a lounge singer named Deloris Van Cartier (Mack) as she wreaks havoc on the convent where she has been placed for her protection until she can testify against her mobster boyfriend by taking over the choir. The entire cast is fantastic but I really liked Mack because she gives Deloris an emotional depth that I haven't see before, especially in her renditions of "Fabulous, Baby" and its reprise, Aioleoge Lesa as Curtis because he has a deep and sonorous voice (he reminded me of Barry White) and his version of "When I Find My Baby" is silky smooth, Christian Patrick Wawro as Eddie because he also has a great voice and his performance of "I Could Be That Guy" is very entertaining, and Ric Starnes as Monsignor O'Hara because his facial expressions are hilarious (I almost died laughing when he introduces the nuns like Ed McMahon introducing Johnny Carson). I also really enjoyed Bonnie Wilson Whitlock (she is a hoot in every show she is in) as the elderly nun Sister Mary Theresa and Sharon Lynn Kenison (another favorite from many local shows) as the cantankerous nun Sister Mary Lazarus because they both maintain their amusing characterizations throughout the whole show. I loved the choreography for the nuns in "Take Me to Heaven," "Sunday Morning Fever," and "Spread the Love Around," because the patterns they create across the floor are very creative (the integration of several props is especially fun), and for Curtis's henchmen TJ (Alec Powell), Joey (Abrin Tinney), and Pablo (Angel Martinez) in "Lady in a Long Black Dress," because they had the entire audience laughing out loud, especially for all of TJ's seductive poses! The sets are completely over the top with an awesome 1970s aesthetic (the shag carpet!) and I was quite impressed with the attention to detail, particularly in the dive bar and Eddie's apartment (it is very clever how it transforms into a club for the reprise of "Fabulous, Baby"). The Gothic arches hanging throughout the theater and the stained glass windows on the LED screens really add to the overall effect. The costumes also have a 1970s vibe (the leisure suits!) and I especially loved the pink and gold lamé outfits worn by Deloris's back-up dancers in the reprise of "Fabulous, Baby" and I loved how the Monsignor's vestments and the nuns's habits get more and more elaborate and bedazzled as the show goes on. This production really won me over and I recommend it for a fun night out (go here for tickets). It runs on the Young Living Centre Stage through October 25.

Note:  I also highly recommend the thoroughly entertaining show The Musical Comedy Murders of 1940 now on the Sorenson Legacy Jewel Box Stage through November 15 (go here for tickets).

The History of Sound

I have wanted to see The History of Sound ever since I learned about it because I am a big fan of both Paul Mescal and Josh O'Connor and I finally had the chance last night at the Broadway.  It is a meditative, meandering, and melancholy portrait of forbidden love so, of course, I absolutely loved it!  Lionel Worthing (Mescal), a sensitive farm boy from Kentucky, and David White (O'Connor), a wealthy and charismatic orphan from Newport, Rhode Island, meet in 1917 as students at the New England Conservatory of Music in Boston and bond over their shared love of folk music.  They begin an affair but are separated when David is drafted to fight in World War I and Lionel returns to the farm.  They are both unhappy without each other so, after the war, David invites Lionel to assist him while traveling throughout rural Maine to collect recordings of folk songs on wax cylinders.  Even though he is happier than he has ever been during this interlude, Lionel realizes that a relationship with David is not possible when he suggests getting teaching positions near each other and they reluctantly part. He attempts to communicate with David but gives up when his letters go unanswered and spends the next few years pining for him while pursuing unhappy relationships and performing in Europe.  Lionel eventually finds closure and lets the memory of David go only to discover later in life the impact they both had on each other.  I really love a scene where Lionel explains that sound is able to be captured on a wax cylinder because, even though it cannot be seen, it creates a vibration that can be felt and this becomes a meaningful metaphor for the relationship between Lionel and David.  The narrative moves at a languid pace (so much longing!), loses focus in the second half (I really missed the presence of O'Connor on screen), and concludes with heartache and yet I still found it to be very compelling.  The cinematography featuring muted colors is beautiful, the score is incredibly evocative, and the nuanced performances are lovely.  I also really enjoyed all of the folk music used throughout, especially "The Unquiet Grave" because it foreshadows an important turning point for Lionel.  This might not appeal to everyone because it is so restrained but I recommend it to fans of the actors.

Him

I was really intrigued by the trailer for Him so my nephew and I went to see it last night.  It has received mostly negative reviews but I actually liked it and what it has to say about the culture of football.  His father wants Cameron "Cam" Cade (Tyriq Withers) to be the greatest football player of all time so he continues playing even though his heart is no longer in it just to please him.  Years later, he is now a star quarterback being eyed by the eight-time world champion San Antonio Saviors but a traumatic brain injury prevents him from participating in the league combine.  He thinks his prospects are ruined until Isaiah White (Marlon Wayans), the legendary quarterback for the Saviors who is contemplating retirement, invites Cam to train with him at his isolated compound in the desert to see if he has what it takes to replace him.  He subjects Cam to more and more disturbing physical and psychological tests which culminate in a one-on-one battle to the death to see who will be the starting quarterback. I found this to be incredibly thought-provoking.  The metaphor comparing football to religion, the players to messianic figures, and the fans to zealots is fascinating because it actually rings true.  I also liked the theme that football serves the same purpose that gladiator contests once did in ancient Rome because that also seems very accurate.  It definitely condemns the violence inherent in the game as well as exploitation by the owners, management, and agents who value the money to be made from the sport over the well-being of the players.  The cinematography and editing are very chaotic and the tone is surrealistic, sometimes even absurd (especially a twist in the third act), but I think the disorientation serves to emphasize how completely Cam must lose himself in order to succeed. I was impressed with the performances because Wayans is absolutely unhinged and Withers does a good job portraying the pressure that players are under but I especially loved Julia Fox because she provides a lot of comic relief as White's influencer wife.  There are flaws and it is definitely not for everyone (it is extremely violent and unsettling) but my nephew and I both kind of dug it.

The Hunchback of Notre Dame at the SCERA Center for the Performing Arts

Last night I went to see The Hunchback of Notre Dame at the SCERA Center for the Performing Arts and, even though I recently saw an outstanding production, I love this musical and I don't think I will ever get tired of seeing it so I really enjoyed this version, too! It tells Victor Hugo's classic story about how a gypsy girl named Esmeralda (Rose Fletcher) inadvertently captivates Claude Frollo (Andrew Lambert), the Archdeacon of Notre Dame Cathedral, Phoebus de Martin (Adam Moore), the Captain of the Cathedral Guard, and Quasimodo (Benjamin Oldroyd), a deformed boy who has been hidden in the bell tower his whole life, which brings about tragedy and redemption. I love just about every song and the talented cast sings them beautifully! Oldroyd is incredible (he is one of the best Quasimodos I've seen) and his versions of "Out There" and "Heaven's Light" are beautiful and filled with both wonder and longing while his version of "Made of Stone" is incredibly plaintive. Fletcher is alluring in "The Rhythm of the Tambourine" (she is a great dancer) and playful in "Top of the World" with Oldroyd but her emotional performances of "God Help the Outcasts" (my favorite song in the show) and "Someday" with Moore brought tears to my eyes.  Lambert portrays Frollo's torment very well and his powerful rendition of "Hellfire" gave me goosebumps. I also loved the portrayal of the Saints (Stan Peck, Krystal Bigler, Sarah Glancy, Lindsey Lebaron, Tanner Lybbert, Shawna Packer, and Xander Richey) because they have some of the best costumes I have seen and their interactions with Quasimodo are highly amusing in "Out There," "Top of the World," and "Flight into Egypt" but poignant in "Made of Stone" (I love how they turn back to stone when they abandon him). One of my favorite aspects of this production is the choreography because it so exuberant and athletic, especially in "Topsy Turvy," "The Tavern Song," and "The Court of Miracles," and the ensemble does an amazing job with it (I loved all of Keith Allen's flips as Clopin). I was also impressed by the clever staging of "Hellfire," the rescue of Esmeralda from the pyre, and Frollo's fall from the bell tower. The elaborate set features a dramatic multi-level stone cathedral dominated by a stunning rose window which then becomes the bell tower, the town square, and the Court of Miracles with the addition of several pieces moved on and off stage by the ensemble. This is a wonderful production of one of my favorite shows and I am glad that I got to see it again! It runs through October 4 and tickets may be purchased here.

Downton Abbey: The Grand Finale

I had planned on seeing Downton Abbey: The Grand Finale when it was first released but I knew that I needed to see it with both of my sisters.  The three of us eagerly anticipated each new episode on PBS every Sunday night and then discussed it at length for the rest of the week (I cannot even begin to express how shocked we were by Matthew's death) and I loved seeing each of the previous movies, Downton Abbey and Downton Abbey: A New Era, with them so it was only fitting that we went to a matinee yesterday afternoon together.  I am so glad we found a time when when the three of us could go because we had so much fun (I lost count of how many times we gave each other meaningful looks when a character had a full-circle moment) and we all think it is a great conclusion to a series we have loved for so long!  Lady Grantham (Elizabeth McGovern) thinks it is time for Lord Grantham (Hugh Bonneville) to hand over the running of Downton Abbey to Lady Mary (Michelle Dockery) but she has become a social pariah because of her divorce from Henry Talbot.  It is up to Lady Edith (Laura Carmichael) to rehabilitate Mary's reputation and up to Tom Branson (Allen Leech) and Lord Hexham (Harry Haddon-Paton) to convince Robert to pass the torch and move to the Dower House with Cora.  The theme of passing the torch is also mirrored with the other characters.  Lady Merton (Penelope Wilton) inherits the organization of the county fair from the late Dowager Lady Grantham and goes head to head with Sir Hector Moreland (Simon Russell Beale), Daisy Parker (Sophie McShera) becomes the cook after Mrs. Patmore (Lesley Nicol) retires to live with her husband Mr. Mason (Paul Copley), Andy Parker (Michael Fox) takes over as butler when Carson (Jim Carter) finally steps down, and Baxter (Raquel Cassidy) is promoted to Lady Mary's maid when Anna (Joanne Froggatt) moves to the Dower House to be with Bates (Brendan Coyle).  My favorite scenes include when Mrs. Patmore asks Mrs. Hughes (Phyllis Logan) about *ahem* marital relations (all three of us laughed out loud at this callback), when Barrow (Robert James-Collier) is invited upstairs, when Edith confronts a fraudster (Alessandro Nivola) who has been embezzling money from Cora's brother Harold Levinson (Paul Giamatti), and when Molesley (Kevin Doyle) becomes a footman once again to meet Noel Coward (Arty Froushan).  I enjoyed seeing how big all of the original children from the series have gotten, especially Sybbie (Fifi Hart), and the closing montage featuring several original characters brought a tear to my eye.  The production design, locations, and costumes (especially Lady Mary's red dress) are as fabulous as you would expect and it was very nostalgic to hear some of the original themes in the score.  I absolutely loved bidding a fond farewell to the Crawley family with my family and I highly recommend this to fans of the series.

Note:  Creator Julian Fellowes says that this is the definitive end to this story but he is open to spin-offs.  I think there should be a prequel with a young Violet!

2 Pianos 4 Hands at PTC

I didn't know much about 2 Pianos 4 Hands, the opening production for the 2025-2026 season at PTC, when I walked into the Meldrum Theatre last night but I ended up loving it so much! Richard Todd Adams and Matthew McGloin play Ted Dykstra and Richard Greenblatt (who wrote the piece about their own experiences), respectively, as well as their parents, teachers, and adjudicators as they pursue their dreams of becoming classical pianists. The first half is really funny as ten-year-old Ted and Richard struggle to learn scales and time signatures from eccentric teachers, endure pushy parents who want them to practice while their friends play hockey outside, and suffer from stage fright during performances before they get serious and begin competing against each other. The second half is more poignant as seventeen-year-old Ted and Richard begin auditioning for conservatories and learn the difference between being good and being great. Ted eventually becomes a piano teacher to adult students and Richard plays "Piano Man" for drunk and belligerent patrons at a bar before they come together in an emotional performance that is simply for the joy of playing. I think almost everyone can relate to this show, even those of us who were not forced to take piano lessons in our youth, because at some point we have all had to settle for being good but not great at something. Both Adam and McGloin give brilliant performances because, not only are they playing all of the classical music live on stage, they are doing so with a lot of physical comedy thrown in (my favorite scene is when the two of them fight each other while practicing a duet without missing a note) and their timing is perfect (especially when they seamlessly transition back and forth between being the soloist and being another character). The music is absolutely incredible and I was thrilled to hear Prelude No. 15 in D flat major "Raindrops" by Frederic Chopin and Sonata No. 8 in C minor "Pathetique" by Ludwig van Beethoven because they are some of my favorite pieces. As much as I loved the classical music, one of my favorite scenes is when Ted and Richard start goofing off while practicing and play a medley of pop songs (my favorite was the music from Chariots of Fire complete with slow motion running). The set is very simple, with two grand pianos dominating the space and a backdrop with geometric cutouts used for projections and shadows, but it is effective in portraying a variety of spaces. Finally, as a Canadian I absolutely loved all of the subtle allusions to Canada (the playwrights are Canadian), especially the use of a loonie. I had heard nothing but rave reviews for this production before seeing it and I was definitely not disappointed (it is now one of my favorite shows produced by PTC). I highly recommend getting a ticket (go here) but act quickly because most of the remaining performances through September 27 have limited availability.

Note:  Between this show, The Musical Comedy Murders of 1940 at HCT, and Flowers for Mrs. Harris at the Ruth, September has been a good month for seeing something new!

The Sound of Music

I helped care for my mom during the last year of her life and we watched The Sound of Music every day (sometimes twice if she was having a bad day) because she loved it and it would soothe her.  Now whenever I watch it I am reminded of her.  It is back in theaters with a 4K restoration as part of the Fathom's Big Screen Classics series to celebrate its 60th Anniversary and, of course, I had to see it last night.  There was a large crowd and they were pretty vocal so it was a lot of fun (and a little bittersweet) listening to all of the iconic Rodgers and Hammerstein songs, including "The Sound of Music," "Maria," "I Have Confidence," "Sixteen Going on Seventeen," "My Favorite Things," "Do-Re-Mi," "The Lonely Goatherd," "Edelweiss," "So Long, Farewell," "Climb Ev'ry Mountain," and "Something Good."  I had to try really hard not to sing along!  My mom did not like the Baroness (Eleanor Parker) so she would hiss every time she appeared on screen and she clapped during the entire wedding sequence because that was her favorite.  These scenes definitely put a big smile on my face!  I always enjoy watching the young actress who plays Gretl (Kym Karath) because she is concentrating so hard on her part (watch her during the music festival) and it is adorable!  My favorite scenes are when the Captain (Christopher Plummer) and Maria (Julie Andrews) dance the Ländler (I am not exaggerating when I say that I have seen this movie hundreds of times and last night was the first time I noticed that all of the other couples are also dancing the Ländler inside) because Plummer is so handsome and it is incredibly romantic and when Maria and the children sing "Do-Re-Mi" because all of the locations remind me of a trip I took to Salzburg (I especially love the scenes in the Mirabell Gardens because I immediately recognized them from the movie when I was there).  I saw this on the big screen several years ago but it was even more meaningful watching it last night and I am so happy that I had the opportunity (go here for more upcoming releases presented by Fathom Events).

Note:  It is really jarring to me whenever I see the stage version because it differs significantly from the movie (I feel the same way about Grease).

Little Shop of Horrors at CPT

Little Shop of Horrors is such a fun show and I loved seeing a fantastic production at CPT with my sisters and nephew last night. Seymour (Jake Heywood) and Audrey (Janae Klumpp-Gibb) both work in a run-down flower shop on Skid Row but the owner, Mr. Mushnik (Robert Gibbons), decides to close it because there are no customers. Seymour thinks that an unusual plant, which he found during a total eclipse of the sun and named Audrey II after his co-worker, will bring more business. The shop becomes wildly successful but Mr. Mushnik is concerned because Audrey II isn't thriving. Seymour inadvertently discovers that Audrey II likes drinking his blood after he cuts himself on a thorn and, eventually, it grows to a giant size demanding more and more blood. When Seymour can't spare any more of his blood, he feeds it the body of Audrey's abusive boyfriend Orin Scrivello (Brock Dalgleish), a sadistic dentist who has an unfortunate laughing gas accident, which wins him the love of Audrey but makes Audrey II even more insatiable. Seymour enjoys the notoriety Audrey II brings him but soon feels guilty about everyone who has died so he could feed it. He decides to get rid of it but eventually he and Audrey succumb to Audrey II's evil plan for world domination! There is a girl group, including Crystal (Kortney King-Lives), Ronnette (Tory Sandoval), and Chiffon (Alexandria Bird), that narrates the show with music combining rock and roll, doo-wop, and Motown and it sounds amazing. I really loved Klumpp-Gibb's performance because she has a beautiful voice and her versions of "Somewhere That's Green" and "Suddenly Seymour" brought the house down. Heywood is awkwardly adorable in "Grow For Me" and Dalgleish is completely over the top in "Be A Dentist" but Austin Payne steals the show as the voice of Audrey II by singing the blues in "Feed Me (Git It)." All of the puppets used for Audrey II, which get bigger and bigger, are incredible and the way that they are manipulated by puppeteer Mitch Gibb is so much fun to watch! Finally, I loved the set which features a street on Skid Row with lots of really fun details (my favorite is the fire escape where the girls often appear). The exterior of Mushnik's Flower Shop opens up to reveal an interior that gets more elaborate as the show goes on, including more and more of Audrey II's tendrils which eventually reach out into the audience during "Finale Ultimo (Don't Feed the Plants)." The cute couple sitting next to me told me that I had a smile on my face during the whole show and I'm sure that I did because I had such a great time watching it. I highly recommend getting a ticket (go here) during its run on the Mountain America Main Stage through October 14.

The Long Walk

I am a huge fan of Stephen King but the movie adaptations of his books are hit or miss with me (The Shawshank Redemption, Stand By Me, and The Shining are among my favorites and The Dark Tower is definitely my least favorite) so I was both excited and nervous to see The Long Walk last night with my nephew.  I am happy to report, Constant Readers, that it is in the former category!  It is set in a dystopian future in which an economic collapse after a devastating civil war has led to a totalitarian regime.  Circumstances have become so dire for the population that thousands of young men volunteer to be part of an annual televised event called "The Long Walk."  Fifty are chosen to compete and they must walk at a steady pace of 3 miles per hour (those who fall below that pace are given three warnings and then are executed by soldiers) along a predetermined route until only one is left to be declared the winner and rewarded with a substantial cash prize and the fulfillment of a wish.  The contest is overseen by the Major (Mark Hamill) who taunts the boys as they battle against fatigue, the elements, and their own inner demons.  At the start of the race Ray Garraty (Cooper Hoffman) says an emotional goodbye to his mother Ginnie (Judy Greer), befriends Peter McVries (David Jonsson), Hank Olsen (Ben Wang), Arthur Baker (Tut Nyuot), Collie Parker (Joshua Odjick) and Billy Stebbins (Garrett Wareing), and antagonizes Gary Barkovitch (Charlie Plummer).  As the race continues for four brutal days and nights and the boys are killed one by one, Ray and Peter form a meaningful friendship and help each other survive as long as they can.  This is one of the bleakest movies I have ever seen because, not only is the story about people so desperate that they are willing to participate in an ordeal of state-sanctioned violence in which they have almost no chance of success just for the possibility of bettering their lives, it features color grading that is washed out and muted as well as locations that reflect the economic depression in the country (all of the towns they walk through seem abandoned and the spectators look as if they could be extras in The Grapes of Wrath).  However, I loved the portrayal of friendship and how the boys are able to comfort and support each other in moments of extreme duress and, even though the ending is ambiguous, I interpret it as somewhat hopeful for the fate of humanity.  I was very surprised by how compelling this movie is (I didn't think the premise could be sustained for so long) and this is due, in large part, to the dynamic performances of Hoffman and Jonsson (some of their interactions brought tears to my eyes).  I especially loved a monologue delivered by Jonsson in which he says that his whole life has been a long walk and that you just have to keep going.  This is extremely well done and I highly recommend it with the proviso that the violence is very graphic.