Michael

Last night I went with my sister and nephew to an early access screening of Michael and I loved it so much!  Although, before you give credence to anything I say, you need to know that I was a huge fan of Michael Jackson during the time period depicted and his music and performances are an indelible part of my teenage years so my opinion is completely biased (see also: Bohemian Rhapsody).  It follows Michael Jackson (played as a child by Juliano Krue Valdi and as an adult by Jaafar Jackson) from 1966 to 1988 including when the Jackson 5 is discovered by Suzanne de Passe (Laura Harrier) and signed to Motown Records by Berry Gordy (Larenz Tate), when he records his solo album Off the Wall with Quincy Jones (Kendrick Sampson), when he hires entertainment lawyer John Branca (Miles Teller) as his manager and records Thriller, when he is coerced into reuniting with his brothers for the Victory Tour, and when he embarks on his first solo tour for the album Bad.  His story is told through the lens of how he finds the courage to break free from his controlling and abusive father Joseph (Colman Domingo) and I found it very moving.  I especially loved the scene in which he announces the final Jackson 5 performance to a stadium of fans for an audience of one after having others speak for him for so long.  I also loved the emotional interactions between Michael and his mother Katherine (Nia Long), who tries to protect him from his father's abuse, and his bodyguard Bill Bray (KeiLyn Durrel Jones), who is his only real friend.  However, my favorite scenes were the incredible recreations of some of Jackson's most iconic performances, particularly the live performance of "Billie Jean" for the Motown 25 Special and the making of the video for "Thriller" because they were incredibly nostalgic for me.  I don't think I will ever forget watching the premiere of "Thriller" on MTV (I was a sophomore in high school) because it absolutely blew me away!  It was the only topic of conversation at school the next day because we had never seen anything like it before (kids today will never know how groundbreaking it was).  Jaafar Jackson is brilliant in his portrayal of his uncle and he absolutely nails Michael's look, voice, and signature dance moves as well as his vulnerability.  There were many times when I thought that I was actually watching Michael perform and it gave me goosebumps.  I was also really impressed by Valdi because his singing and dancing are equally amazing (my favorite scenes were the recording of "Who's Loving You" and the live performance of "I'll Be There") and one scene in particular with Domingo brought tears to my eyes.  The critics have been brutal but the large crowd last night applauded enthusiastically at the end.  If you are a fan of Michael Jackson, you will definitely enjoy it and, if you are not, you probably won't.

Note:  I laughed out loud at a cameo by Mike Myers as a record executive (see also: Bohemian Rhapsody).

The Christophers

Last night my nephew and I saw The Christophers at the Broadway and I was pleasantly surprised by its moving portrayal of an unlikely friendship.  Lori Butler (Michaela Coel), a struggling artist known more for her work in art restoration than for her own paintings, is approached by Sallie Sklar (Jessica Gunning), a former classmate from art college, and her brother Barnaby (James Corden) about completing a series of unfinished paintings locked away by their estranged father Julian Sklar (Ian McKellen) so that they can be "discovered" after his imminent death and then sold for a fortune.  They contrive to have her hired as their father's personal assistant, ostensibly for the purpose of cataloging his work, but with the real intention of accessing the paintings as well as his paints and supplies to aid in the eventual authentication process.  Sklar is initially reluctant to even speak about the paintings because the subject of the series is his former lover (the titular Christopher) and the memories they evoke are painful to him.  He even suggests that they be destroyed but, when Lori eventually reveals the truth, the two of them plot to sabotage their plan (it involves the use of glitter).  This is a very dialogue-heavy movie that emphasizes character development over action but every conversation between Lori and Julian slowly reveals information that recontextualizes their relationship and it is very compelling.  I especially enjoyed their philosophical discussions about art and perception and the notion that a painting's worth is not necessarily determined by its value.  McKellen gives a brilliant performance as the curmudgeonly painter because you can actually see the mischief in his eyes as Julian and Lori spar with each other and Coel more than holds her own with the veteran actor (the chemistry between them is electric).  Finally, this is often quite funny, more so than I was expecting, and I laughed out loud when Sallie's attempt to copy one of the paintings is revealed (it is obvious that she was admitted to art school because of nepotism).  This is one of the most delightful movies I have seen in recent memory and I higly recommend it.

Ballet West's West Side Story: Broadway and Beyond

Yesterday I was able to attend a matinee of Ballet West's repertory program West Side Story: Broadway and Beyond featuring two choreographers known for their success on the Great White Way.  I thoroughly enjoyed this performance (I usually prefer full-length ballets) and I was very impressed by how innovative and groundbreaking it was.  It began with Antique Epigraphs with choreography by Jerome Robbins and music by Claude Debussy (the piece was bookended by a solo flute performing Debussy's Syrinx with his Six Epigraphes Antiques played by the full orchestra in between and it was quite dramatic).  Eight female dancers, including Katlyn Addison, Lillian Casscells, Kye Cooley, Nicole Fanney, Victoria Vassos, Rylee Ann Rogers, Anisa Sinteral, and Claire Spainhour, wearing flowing gowns in earth tones created sculptural forms inspired by Greek mythology, both individually and as a group moving in unison, while gliding across the stage. I was struck by how elegant and fluid their movements were, particularly the graceful extension of their arms.  I was really happy to see Addison, my favorite dancer, in a prominent role. This was followed by Carousel (A Dance) with choreography by Christopher Wheeldon and music by Richard Rodgers from the stage musical.  On a stage swathed in carnival lights, Amy Potter and Jordan Veit danced a lovely waltz emphasizing the push and pull of a possible romance after Billy Bigelow and Julie Jordan first met each other.  The members of the ensemble acted as a carousel while jumping and spinning around the couple in a circle.  This included an especially fun effect featuring the women holding poles as they were lifted up and down by the men to replicate the movement of the horses on the carousel (the two young girls sitting in front of me loved this).  Next came the pas de deux from After the Rain with choreography by Christopher Wheeldon and music by Arvo Part.  Cellist Lauren Posey and Pianist Vedrana Subotic performed Spiegel im Spiegel on stage as Emily Adams and Hadriel Diniz performed an intricate duet that was slow, deliberate, and intimate.  This was absolutely stunning and I was blown away by the strength, concentration, and control required of the dancers.  The program concluded with West Side Story Suite, the piece that I was most interested to see, with the iconic choreography by Jerome Robbins, music by Leonard Bernstein, and lyrics by Stephen Sondheim.  This was incredible because the company, who were joined by guest artists and vocalists, performed the big ensemble numbers from the stage musical with dancing and singing.  I especially loved the "Prologue" because the choreography communicated the rivalry between the Jets and the Sharks through movement brilliantly, "Dance at the Gym" because the contrast between the Jets and Sharks was so dramatic (the Jets were primarily costumed in blue, orange, and yellow with the Sharks in black, magenta, and purple) and seeing them interact was riveting, "Cool" because the choreography was thrilling with acrobatic leaps and spins (I was beyond impressed by David Huffmire's singing as Riff), and "Somewhere Ballet" because it was so haunting that I had tears in my eyes by the end.  I had to exchange my ticket in order to see this but I am so glad I made the effort because this was really unexpected and exceeded my expectations!  Unfortunately, last night was the final performance but you can go here to see the remaining productions this season.

The Drowsy Chaperone at Draper Historic Theatre

Last year I saw The Addams Family and Elf The Musical at Draper Historic Theatre. One of these productions was outstanding and the other one was not so, clearly, I had to see something else as a tie breaker and I chose The Drowsy Chaperone last night. I love this show so much because it is a love letter to musical theatre and its power to transport you to a place where happy endings are possible for a few hours. Man in Chair (Christopher Stockstager) decides to listen to his cast recording of The Drowsy Chaperone, a popular musical from 1928, because he is feeling a little blue. The show comes to life in the middle of his apartment as he listens but he frequently interrupts to provide commentary and occasionally participates in the big production numbers. Mrs. Tottendale (Pam Winrow) and her Underling (Kian Byington) are hosting the wedding between the oil tycoon Robert Martin (Wes Seiler) and Broadway star Janet Van De Graaf (Kellie Seiler), who is giving up her glamorous career for love. Robert is leaving all of the wedding details to his friend and best man George (Gabe Velez) while Janet is relying on her Chaperone (Keri Hughes), who gets drowsy when she drinks, to keep her and the groom apart to avoid bad luck. Broadway producer Feldzieg (Josh Rayburn) wants to prevent his biggest star from leaving his show so he hires a Latin lover named Aldolpho (Matthew Davids) to seduce her in order to stop the wedding, an investor in the Feldzieg Follies is also worried and hires two gangsters (Spencer Bushman and Isaac King), disguised as pastry chefs, to disrupt the proceedings, but a ditzy chorus girl named Kitty (Makayla Porter) takes every opportunity to prove to them that she can take Janet's place. Mayhem ensues until Trix the Aviatrix (Haley Oliphant) provides the happy ending by agreeing to marry four couples on her plane while flying to Rio. I loved the entire cast but the standouts for me were Hughes because she is the ultimate diva in "As We Stumble Along" (I loved how the veteran performer tries to outshine the ingenue in this number), Davids because he is completely over-the-top in "I Am Aldolpho" (I laughed out loud at all of his antics with a cane), Velez because he is hysterically overwrought in "Wedding Bells 1" and "Wedding Bells 2" (this was his same characterization for Buddy the Elf but it is more appropriate in this show), and Stockstager because his facial expressions and mannerisms make him the perfect Man in Chair (especially during his poignant monologue in response to "Love is Always Lovely in the End"). The choreography is fantastic, particularly in "Cold Feets" (I always love to see tap dancing), "Show Off" (it was clever to have Janet rise up from a trap door in the encore), "Toledo Surprise," "Bride's Lament," and "I Do, I Do in the Sky." It is hilarious every time the actors freeze (in some very elaborate poses) when Man in Chair stops the record and when they repeat the choreography over and over again when it has a scratch. The set of the apartment is ingenious and the cast utilizes the furniture very well for their entrances and exits (my favorites are when George emerges from one of the lower cabinets and when the Chaperone appears in a Murphy bed). The costumes are great because they include some fun details, such as the two cardigan sweaters worn by Man in Chair, the plaid plus fours with argyle socks and sweater vests worn by the gangsters, and the spats worn by the Underling. I loved everything about this production so you never know what you are going to get with community theatre! The show runs Mondays, Thursdays, Fridays, and Saturdays through May 16 and I highly recommend getting a ticket (go here).

Note: I loved Stockstager but my favorite Man in Chair is Jonathan Crombie (better known as Gilbert Blythe in Anne of Green Gables) when he appeared in the Broadway touring production. Sigh!

Mammoth vs. Blues

Last night I had a last minute opportunity to see the Utah Mammoth play the St. Louis Blues and I took it because it was the final game of the season.  I am really glad that I did because, even though they lost and even though Dylan Guenther wasn't in the line-up, I had a great time (at least until the last three minutes).  The Mammoth played a lot better than they have been recently and had a lot of good chances (they ended the night with 23 shots) in a back-and-forth game that was really fun to watch.  Pavel Buchnevich put St. Louis on the board first with a goal at the 3:45 mark in the first period and then Michael Carcone evened it up at 16:55 with a pretty wrist shot.  The second period was very exciting because Lawson Crouse scored within 45 seconds when he backhanded the deflected puck from MacKenzie Weeger's missed shot in traffic.  The crowd was on their feet again when Brandon Tanev scored a goal less than a minute later (his first of the season) to make it 3-1 but St. Louis challenged it for goaltender interference and it was overturned.  That took the wind out of Utah's sails a little bit and Robert Thomas scored twice in a row to put St. Louis up 3-2.  In the final minute of the period Kailer Yamamoto put a wrist shot past Joel Hofer from the slot to tie the game at 3-3.  Karel Vejmelka (who allowed three goals on 18 shots) was replaced by Vitek Vanecek to start the third period and it was a defensive battle until the 2:57 mark when Logan Mailloux scored the go-ahead goal.  The Mammoth did everything they could to score but they didn't have enough time and eventually pulled Vanecek which resulted in an empty-netter from Thomas (giving him his first NHL hat trick).  The Blues ended up winning 5-3 but it was a better game for the Mammoth than the score suggests and I liked that they were more aggressive in the offensive zone.  I was sitting next to three Blues fans who were really obnoxious and I wanted to remind them that the Mammoth were going to the playoffs (they play the Vegas Golden Knights in the first round) while the Blues were done for the season but, thankfully, reason prevailed!  After the game, team awards were given to Michael Carcone, Clayton Keller, Lawson Crouse, and Dylan Guenther and the whole team thanked the fans for supporting them this season.  I'm glad I rearranged my schedule for one last game (I probably won't get to a playoff game unless they make it to the second round).

Exit 8

Next up in my double feature last night was Exit 8, a Japanese psychological horror film based on the video game of the same name.  The central conceit becomes a bit tedious as it goes on but I found it very thought-provoking.  The Lost Man (Kazunari Ninomiya) is riding the subway on his way to work when his ex-girlfriend (Nana Komatsu) calls him to tell him that she is pregnant with his child and to ask him what she should do.  This news is very overwhelming to him and, as he tries to exit the subway station, he soon finds himself in an endlessly looping corridor underground.  He eventually learns that the way to reach Exit 8 is to turn back whenever he sees an anomaly in the corridor.  If he doesn't turn back when an anomaly appears, he returns to Exit 0 which resets his progress.  While on his seemingly interminable journey, he encounters The Walking Man (Yamato Kochi) and The Boy (Naru Asanuma), who are also trapped in the corridor for various reasons, but only one of them can help him reach Exit 8.  I found the allegory about what you should prioritize in life to be very powerful, if a bit on the nose, and I loved the juxtaposition between the life represented by The Walking Man versus the one represented by The Boy.  I also liked the exploration of how important it is to be present in the moment (symbolized by the anomalies).  As I previously mentioned, seeing the exact same location, a sterile white tiled hallway, for most of the runtime is sometimes mind-numbing (which is the point) but the unsettling sound design and some of the more elaborate anomalies (especially an homage to The Shining) definitely kept my attention.  Finally, the use of Maurice Ravel's Bolero during both the opening and end credits is absolutely brilliant because it features a single repeating melody that builds in intensity.  I liked this (it was fun to see it with a big crowd late at night) and would recommend it.

Hamlet

I love Shakespeare's play Hamlet (it was my favorite piece to teach my British literature students) so I have been eagerly anticipating Aneil Karia's bold new version featuring a contemporary South Asian perspective for what seems like forever.  I finally had a chance to see it last night as part of a double feature and to say that I loved it would be an understatement!  When Hamlet (Riz Ahmed), the scion of a wealthy South Asian family in London, learns that his father (Avijit Dutt), the CEO of a real estate holding company called Elsinore, has died after a long illness, he is overcome with grief.  He is also devastated to hear that his mother Gertrude (Sheeba Chaddha) is planning to marry his uncle Claudius (Art Malik).  He goes to a club and, while in a drug-induced haze, he sees the ghost of his father who tells him that Claudius is responsible for his death and that Hamlet must avenge him. He is not sure if this vision really happened so he begins investigating Claudius and discovers corruption at Elsinore.  Claudius and his business associate Polonius (Timothy Spall) have been tearing down affordable housing in favor of luxury high-rises and have been evicting tenants who have nowhere to go.  When Hamlet finally decides to take action, he sets in motion a tragedy that affects both his friends and family.  I am usually a purist but there are some changes to the text, which retains Shakespeare's language, that I found incredibly intriguing.  I loved the choice to focus entirely on Hamlet's POV with the camera following him to an almost claustrophobic degree because the audience really sees his isolation and downward spiral.  I loved that Laertes (Joe Alwyn) and Ophelia (Morfydd Clark) replace Horatio as a character and act as Hamlet's confidants because it makes his actions even more devastating. I loved that Polonius is given a more menacing characterization because it makes his death more provacative.  I loved that the play-within-a-play is reimagined as an elaborate dance at the traditional Indian wedding of Gertrude and Claudius because it is both entertaining and shocking.  I loved that Hamlet delivers his famous soliloquy while speeding recklessly on the the wrong side of the road because it is a more explicit portrayal of his suicidal state of mind.  Finally, I loved that the disgruntled former tenants act as a stand-in for Fortinbras's army because taking on an evil corporation is a brilliant way to give a modern update to the overthrow of a kingdom.  Ahmed gives an emotional performance that I found absolutely captivating and I also enjoyed Clark's more restrained take on Ophelia, especially the mad scene.  This might not appeal to everyone but it blew me away and I highly recommend it!

Mammoth vs. Hurricanes

My friend Angela has recently become a hockey fan so I was really excited to see the Mammoth take on the Carolina Hurricanes with her yesterday afternoon!  The atmosphere in the Delta Center was electric because the Mammoth clinched a payoff berth for the first time in franchise history during their last game against the Predators.  Unfortunately, the Hurricanes deflated the energy of the crowd early in the first period with a power play goal by Andrei Svechnikov after Mikhail Sergachev took a holding penalty.  Jordan Staal had a pretty wrist shot from the slot to put Carolina up 2-0 (it was his 20th goal of the season) and soon after it looked like Clayton Keller had scored for Utah but the goal was called back for being offside.  The Mammoth couldn't seem to get anything going in the offensive zone against a tough Carolina defense and were often forced to dump and chase the puck (I hate it when teams do this).  They played much better in the second period with a few good chances (they ended the game with 27 shots against a team who have held their opponents to the fewest shots in the NHL) and some great saves from Karel Vejmelka (he ended the game with 26), although they couldn't capitalize on a slashing penalty called on Shayne Ghostisbehere (they ended the game 1-5 on the power play).  Utah started the third period with a lot of energy and Dylan Guenther, my favorite player on the team, hit a beautiful one-timer from a tough angle to score on the power play.  The crowd went crazy and I have to admit that my cheering was quite enthusiastic because I had never seen him score in person before (I think he knew I was there and scored just for me)!  This goal gave the Mammoth some momentum, which was really fun to watch, but a late goal by Sebastian Aho and an empty-net goal by Sean Walker gave the Hurricanes the 4-1 victory (and snapped Utah's five game winning streak).  The outcome was a bit disappointing but at least I got to see Guenther get his 40th goal of the season (he now ranks among the top ten scorers in the league).  I really like him as a player (he is also very easy on the eyes) and I have seen a lot of development from him this season so I am happy that he reached this milestone.  There are a few regular season games left and then it will be so much fun to see this team in the playoffs!

Note: I was quoted in The Salt Lake Tribune about my frustrations with the Jazz this year (go here).

The Phantom of the Opera at the Eccles

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

The Drama

My nephew and I somehow managed to avoid all of the spoilers before seeing The Drama at the Broadway last night and, now that I have seen it, I highly recommend going in as blind as possible (this is as spoiler-free as I can make it but you might want to stop reading now).  Emma Harwood (Zendaya) and Charlie Thompson (Robert Pattinson) are feeling the usual stress in the week leading up to their wedding as they write their speeches (which is a clever way to introduce the audience to the characters and their relationship), practice the choreography for their first dance, and finalize the menu for the reception.  However, their stress level escalates when they see their DJ (Sydney Lemmon) for the reception smoking heroin on the street.  Charlie wants to fire her but Emma suggests that everyone has done something bad that they regret.  When they discuss the situation with their friends Rachel (Alana Haim) and Mike (Mamoudou Athie), they all take turns revealing the worst thing they have ever done.  Everyone is shocked by Emma's admission and, while he is initially supportive, Charlie starts to fixate on what she did and wonders if he really knows her.  They awkwardly continue with the wedding preparations but Charlie is eventually involved in an indiscretion brought on by his confusion, anger, and distress which leads to absolute mayhem at the reception!  What I loved most about this is that it begins as a romantic comedy (it even has a meet-cute in a coffee shop) but then expectations are subverted and it becomes a thought-provoking morality play.  The topic will be divisive and some might find it uncomfortable to watch.  I personally don't think Emma's actions are unforgivable but the exploration of why they send Charlie into a downward spiral is definitely intriguing.  Both Zendaya and Pattinson are outstanding!  They have tremendous chemistry and both communicate so much with subtle changes in facial expressions and body language.  Haim also gives the best performance of her career (I actually thought Rachel's admission was worse than Emma's).  Finally, the editing is absolutely brilliant because it really adds to the anxiety and discomfort felt by both Emma and Charlie.  I was very surprised by this and it is now one of my favorites of 2026.

Cambria Rose

I finally had the chance to meet my great-niece two weeks ago when Tashena and Tucker were in town for a family funeral.  To say that I am smitten with her would definitely be an understatement!  I think she is the most adorable baby ever and I loved every minute that I got to spend holding her (I even got to feed her).  Marilyn and I are planning a road trip to Washington to see her very soon because we miss her so much!  In the meantime, here are some beautiful photos of our precious baby.

To add to the cuteness overload, here is the sweetest video of the sweetest baby ever!

Arsenic and Old Lace at the Empress Theatre

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

Jazz vs. Nuggets

I always pick the Denver Nuggets game when my friend Angela offers me my choice of Utah Jazz tickets because I really love to hate them (I have lots of friends and family who live in Denver so it is a bit of a rivalry).  Last night's game is most likely going to be my last for the foreseeable future so I tried to enjoy myself despite the fact that I knew the Jazz would lose (more on that later).  As predicted, the Nuggets took an early 17-3 lead when they got 12 unanswered points, including three 3-pointers from Jamal Murray, in the first four minutes of the first quarter.  Several baskets from Brice Sensabaugh and Kyle Filipowski got Utah to within 30-27 but Murray continued to impress with a dramatic half-court buzzer-beater to end the quarter up 39-28.  Sensabaugh, who ended the night with 28 points, and Filipowski, who added 25, continued to score for Utah but Cam Johnson's 14 points and more from Murray, including a really pretty step back three, put the Nuggets up 68-54 to end the half.  The Jazz stayed with the Nuggets to start the third quarter and, when Ace Bailey hit a pull-up three, they cut their lead to six which got the crowd cheering (I have to admit that I spent more time talking to Angela than watching the game but this play definitely got my attention).  The Jazz held the Nuggets to that six point lead until Nikola Jokic (who was pretty quiet during this game with just 15 points) scored and Murray hit another one of his 3-pointers (he ended the night with ten) to bring their lead to 14.  The Jazz got a bit of chaotic momentum late in the third to cut the lead to 97-90.  I have been very critical of how the Jazz have been tanking in the fourth quarter but I think they put forth a good effort last night and I was impressed by Cody Williams (9 points), Bez Mbeng (7 points), and Kennedy Chandler (16 points) off the bench.  The Nuggets still ended up winning 130-117 which means that they swept the Jazz for the second year in a row.  I hate it when the Nuggets beat us but, as always, it was fun to watch the game with Angela.  She has decided not to renew her tickets next season (it is disheartening to pay so much money to see them lose every game) so it looks like I will be attending more Mammoth games!

The AI Doc: or How I Became an Apocaloptimist

Up next in the double feature with my nephew last night was The AI Doc: or How I Became an Apocaloptimist.  I didn't really want to watch this documentary because I already have a lot of existential dread about the topic but my nephew talked me into it and it is probably a good thing that I did.  Award-winning filmmaker Daniel Roher decides to investigate what will happen if, or more likely, when Artificial Intelligence reaches its maximum potential after he learns that he and his wife, filmmaker Caroline Lindy, are expecting a baby because he is nervous about the kind of world his son will inherit.  He interviews several ethicists and critics of A.I., including Tristan Harris, Aza Raskin, and Eliezer Yudkowsky, who all warn that the technology is moving too fast and that it poses a threat on par with global nuclear war.  They also suggest that it is too late to do anything about the impending catastrophe.  These interviews leave Roher feeling incredibly anxious so Lindy urges him to find some hope.  He then interviews other experts who are optimistic about A.I., including Peter Diamandis, Guillaume Verdon, and Ramesh Srinivasin, and they suggest that it has the potential to solve the greatest problems facing humanity by discovering alternative sources of energy, creating scientific and medical breakthroughs, and providing automation to free people from the burdens of labor.  This gives Roher a measure of comfort but then he interviews Sam Altman, the CEO of OpenAI, Dario Amodei, the CEO of Anthropic, and Demis Hassabis, the CEO of Google DeepMind, who are all in a race to create Artificial General Intelligence (AGI), which would exceed human intelligence to the point that humans would no longer be needed, because the first company to do so would gain untold money, power, and control.  The documentary concludes with a call to action for people to demand transparency, regulation, and cooperation (which might be impossible with the current geopolitical situation).  Roher's intention is to present a balanced approach to the topic but, in my opinion, the optimism isn't earned because he fails to discuss access.  I have no doubt that A.I. is capable of improving lives (I recently watched the documentary The Thinking Game about how Google DeepMind solved the protein folding problem and its implications for science) but it is almost certain that only the elite will benefit from these discoveries.  He also fails to discuss the economic displacement that automation is sure to cause.  I think Roher is much more successful with his goal to provoke conversations about the topic (my nephew and I discussed it at length) and, even though this is a very difficult watch, these conversations are necessary.

They Will Kill You

Last night my nephew and I had a double feature and we started with They Will Kill You.  Asia Reaves (Zazie Beetz) takes a job as a maid at The Virgil, an exclusive high-rise apartment building in New York City.  She arrives and meets the eccentric building manager Lilith Woodhouse (Patricia Arquette) and, while the building and its wealthy inhabitants seem odd, she soon settles in for the night.  What Asia doesn't know is that The Virgil has been a temple to Satan for the past 100 years and the inhabitants must periodically perform a human sacrifice in return for their immortality.  She is selected for the ritual so Kevin (Tom Felton), Sharon (Heather Graham), Bob (Willie Ludik), Tall Steve (David Viviers), and Short Steve (Gabe Gabriel) attack her in the middle of the night but they are shocked when she is able to defend herself and kill them.  What the inhabitants don't know is that Asia is not who she pretends to be and has come to The Virgil to find her younger sister Maria (Myha'la).  Carnage ensues when Asia is forced to kill the inhabitants over and over again to keep her sister safe until they can escape.  The action sequences are hyper-stylized with a tone that is incredibly surreal and they become more and more unhinged as they go on (even if they do become very repetitive).  The kills are extremely gruesome (one involves a detached and bloody eyeball) but they are really fun to watch (my favorite is when Asia uses a burning ax to kill everyone single-handedly).  Beetz is great as an action star (I find her to be very compelling) but, when she isn't punching, kicking, stabbing, crawling, and climbing her way out of secret passages and locked rooms, she shows a lot of emotion as a someone trying to make amends for past mistakes.  There are flaws but it is entertaining and I really dug it.

King James at PTC

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

Ben-Hur

There are just some movies that demand to be seen on the big screen and, in my opinion, Ben-Hur is one of them (I also put Lawrence of Arabia in this category because I always fall asleep when I watch it at home but when I see it on the big screen I am riveted). I was able to see this epic movie as it was meant to be seen yesterday afternoon as part of the Fathom's Big Screen Classics series and it was absolutely exhilarating!  Messala (Stephen Boyd) returns home to Jerusalem as the new Roman tribune and has a joyous reunion with his childhood friend Judah Ben-Hur (Charlton Heston), a wealthy and influential prince.  Messala asks Judah to help quell the rebellion that is brewing in Jerusalem but they soon quarrel when Judah refuses to spy on his people.  During a military parade, a tile falls from Judah's house injuring the new governor and Judah, his mother Miriam (Martha Scott), and his sister Tirzah (Cathy Donnell) are arrested. Wanting to curry favor with the governor, Messala condemns him as a galley slave and imprisons his family so Judah vows to return and exact vengeance.  After several years, a Roman consul named Quitus Arrius (Jack Hawkins) is assigned to Judah's ship and notices his will to live.  Arrius has Judah's chains unlocked just before a battle which allows him to escape from the sinking ship as well as rescue him.  In gratitude, Arrius takes Judah to Rome where he learns to drive a chariot and soon becomes a champion.  Eventually, Judah returns to Jerusalem and challenges Messala to an epic chariot race.  A parallel story involves the birth, ministry, and crucifixion of Jesus Christ and two brief but meaningful encounters between them allow Judah to forgive the Romans for what they have done to him and his family.  This movie is a spectacle in every sense of the word with a scope and grandeur that makes seeing it on the big screen an incredible experience!  It had the biggest budget of any movie up to that point with thousands of extras, horses, and costumes and a crew of 200 who built over 300 sets.  It was the highest grossing movie of 1959 and won 11 Academy Awards, including Best Picture, Best Director for William Wyler, and Best Actor for Charlton Heston.  I think the message is a bit heavy-handed and the final 30 minutes are strangely anticlimactic, despite the subject matter, after the build-up to the chariot race.  However, the runtime is worth it for this race alone because it is one of the most intense action sequences ever filmed (and it definitely holds up after more than 60 years).  I also really enjoyed the naval battle and Judah's subsequent escape from the sinking ship as well as the battle of wills between Judah and Arrius when the latter orders the slaves to row faster and faster.  I had a lot of fun seeing this with a big crowd of cinephiles and I highly recommend getting a ticket while it is back in theaters (go here for the remaining dates and times).

Father of the Bride at Parker Theatre

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

Hadestown at the Eccles

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