Ludovic Morlot Conducts Stravinsky & Rachmaninoff

I love Rachmaninoff, especially Rhapsody on a Theme of Paganini, so last night's Utah Symphony concert will definitely be a highlight of the season for me because I got to hear it performed brilliantly by the orchestra and guest soloist Gerorge Li.  The concert began with The Fairy's Kiss by Igor Stravinsky.  This piece is a ballet based on the short story The Ice Maiden by Hans Christian Andersen and was written as an homage to Tchaikovsky to commemorate the 35th anniversary of his death.  It tells the story of a fairy who rescues an abandoned baby from a storm and then marks it with a kiss.  When the fairy encounters the baby again as a young man on the eve of his wedding, she kisses him again to claim him for herself.  Stravinsky blended several of Tchaikovsky's themes with his own for this ballet and I really enjoyed it.  I thought it was very lyrical and romantic, despite the somewhat tragic story, and I especially liked the themes played by the woodwinds and the brass.  After the intermission the orchestra played The Sorcerer's Apprentice by Paul Dukas.  It is based on a poem by Johann von Goethe about a young sorcerer who gets in over his head when attempting some of his master's magic but, when I heard the playful and whimsical music, all I could see was Mickey Mouse trying to control a broom in the movie Fantasia!  The concert concluded with the piece I had been waiting for all evening (I could hardly contain my excitement during the pieces that preceded it) and it definitely did not disappoint!  Rachmaninoff's Rhapsody on a Theme of Paganini was inspired by Nicolo Paganini's Caprices for Solo Violin and includes 24 different variations.  I love all of them because they are all so beautiful and lush but my very favorite is the 18th variation because it is almost unbearably romantic and I was practically swooning during the whole thing (it is featured in the movie Somewhere in Time).  George Li gave an amazing performance (I loved watching his fingers fly up and down the keyboard) which garnered a boisterous standing ovation which was rewarded with an encore at its conclusion.  I loved this concert and I suggest that you stop what you are doing right now and get a ticket (go here) for the concert tonight which features the same program.  You will thank me later!

Alanis Morissette at USANA

My sister Kristine and I are huge fans of Alanis Morissette!  Both of us have seen in her in concert several times (including once together) so, when we heard the announcement that Morissette was launching a tour commemorating 25 years since the release of her ground-breaking album Jagged Little Pill and that she would be making a stop in SLC, we immediately bought tickets and started counting down the days.  Then, of course, Covid canceled everything and I have to admit that I was really disappointed about missing this show (among others).  I was absolutely delighted when I heard the news that Morissette was rescheduling the whole tour and it was so great to return to USANA Amphitheatre last night for the first time in over two years!  My sister and I loved this show so much because Morissette can still belt out a tune!  As expected, she played Jagged Little Pill in its entirety (although she pushed shuffle) and I especially enjoyed the hits "All I Really Want," "Hand in My Pocket," "You Learn," Head Over Feet," "Ironic," and "You Oughta Know."  There was a time when I played these songs incessantly but I haven't heard them in a long time.  Even so, I still knew every single word and sang them right along with the entire crowd!  I also really enjoyed it when Morissette performed a snippet of a song from a later album as an intro to a deeper cut from Jagged Little Pill (her songs work very well together thematically) such as "Hands Clean" before "Forgiven," "Everything" before "Mary Jane," "Nemesis" before "Perfect," and "Losing the Plot" before "Wake Up."  She also performed a few songs from her latest album Such Pretty Forks in the Road and I especially liked "Reasons I Drink" and "Smiling," a song Morissette wrote for the Broadway show Jagged Little Pill (which is near the top of my list of shows I want to see).  Whenever I attend a concert there is always a song that I hope to hear from a performer's back catalog.  It is usually pretty obscure so I am invariably disappointed but I was absolutely thrilled when Morissette played "Uninvited" during the encore!  She also performed "Your House" in a variety music genres (it was quite amusing) and "Thank U" as a way to thank the fans for coming out to support her.  This concert was so much fun because I got to see it with my sister and because I was transported back to my younger self (without the angst).

Note:  The opening band was Garbage and I think I was looking forward to seeing them just as much as Morissette.  When I was younger I thought Shirley Manson was the coolest girl ever with her Doc Martens, dark eyeliner, and sassy hands on her hips attitude!  They didn't play my favorite song, "Supervixen," but they did play "Stupid Girl," "#1 Crush," "I Think I'm Paranoid," "Special," and "Only Happy When It Rains" interspersed with some of their newer material.  I loved their set!

Ain't Misbehavin' at PTC

The joint was jumping (in more ways than one) last night as audiences returned to PTC after an absence of 18 months for the musical Ain't Misbehavin'.  When the 2021-2022 season was announced, I didn't know anything about this show but I discovered that it is a musical revue featuring the songs of Thomas "Fats" Waller, a well-known jazz pianist and composer who wrote over 400 songs from 1920 to 1940.  It was basically a concert featuring five incredibly talented and charismatic vocalists, including Tyla Collier (she was in Once on This Island, the last show I saw at PTC before the pandemic), Tyrick Wiltez Jones, Mariah Lyttle, Terita Redd, and DeMone Seraphin, and an equally talented band on stage, including Music Director William Knowles on piano, Michale Evans on trombone, Otis Gould on drums, Keith Parietti on tenor sax and clarinet, Hillary Fuller on bass, Scott Harris on alto sax and clarinet, and Jesdelson Vasquez on trumpet.  They performed close to 30 different songs during the 90 minute run time and, even though I wasn't very familiar with Waller, I recognized at least a third of the songs.  My favorites were "Mean to Me," a torch song delivered by Redd while leaning seductively against the piano, a sultry version of "Keepin' Out of Mischief Now" performed by Collier, a rousing rendition of "The Ladies Who Sing With The Band" by Jones and Seraphin, a hilarious performance of "Your Feet's Too Big" by Seraphin, the innuendo-filled "Squeeze Me" by Lyttle, and the heartbreaking "Black and Blue" performed by the whole company with beautiful harmonies and dramatic lighting.  There was almost no dialogue, beyond the occasional ad-libbing with audience members (some of which was highly amusing), and the choreography was simple but executed very well.  At the beginning of the show the set consisted of a backstage area in shadows with instruments covered in dust cloths and a ghost light prominently displayed.  The performers entered the stage from different areas, removed  their coats, and arranged their instruments and props before the first number began.  As the show progressed, the stage became more and more elaborate (I loved all of the chandeliers) until it was transformed into several different jazz clubs.  I don't know if the show is always staged in this manner but it was a highly effective way to represent the return to live performances after a lengthy break.  I really enjoyed this wildly entertaining show but, unfortunately, I did not get to see the last few numbers because the theater was evacuated when a fire alarm went off (this is the second time this has happened to me during a performance).  Even so, I highly recommend this show which runs through September 25 (go here for tickets).

The Drowsy Chaperone at the SCERA Center for the Performing Arts

The SCERA Center for the Performing Arts is another venue that I had never been to before, again because it is about a 45 minute drive from my house, but I learned that The Drowsy Chaperone was being performed there and, since it is one of the funniest shows that I have ever seen, I just had to get a ticket. I saw it last night and I was really impressed with the venue and the production! The Drowsy Chaperone is such a fun show because it is a hilarious parody of the genre with every musical theatre trope you can think of but it is also a poignant ode to the power of theatre to transport you away from the real world and all of your problems to a place where happy endings are possible for a few hours. Man in Chair (JD Ramey) is feeling a little bit blue so he decides to listen to the cast recording of The Drowsy Chaperone, a popular musical from 1928. As he listens to the record, the actors appear in his apartment and bring the show to life with frequent pauses for his wry explanations and commentaries. Mrs. Tottendale (Katie Warne) and her Underling (Dane Allred) are hosting the wedding of oil tycoon Robert Martin (Bryan Johnson) to a Broadway star named Janet Van De Graaff (Samantha Frisby), who is giving up her glamorous career for love. Robert is leaving the wedding details to George (Jared Wilkinson), his best friend and best man, while Janet's Chaperone (Tannah O'Banion), who gets drowsy when she drinks champagne, is charged with keeping the couple apart to avoid bad luck. Broadway producer Feldzieg (Robert Holcombe) is unhappy about losing his biggest star and sets out stop the wedding by hiring a Latin lover named Aldolpho (Devin Glenn) to seduce the bride. An investor in the Feldzieg Follies is also worried about losing its biggest star and hires two gangsters (Jarom Swanson and Erik Rytting), disguised as pastry chefs, to stop the wedding but a ditzy chorus girl named Kitty (Abby Bradshaw) is hoping to take Janet's place. Mayhem ensues but the happy ending comes eventually when Trix the Aviatrix (Abigail Crist) is enlisted to marry four couples on her plane while flying to Rio. This production is simply delightful and I especially enjoyed the choreography in the big song-and-dance numbers "Cold Feets," "Show Off," "Toledo Surprise," "Bride's Lament," "Love is Always Lovely in the End," and "I Do, I Do in the Sky." I particularly liked how the choreography incorporates the furniture and other items in the apartment. The use of the bookcase in "Show Off" is ingenious! It is absolutely hilarious when the actors freeze every time the Man in Chair stops the record and when they perform the same notes over and over when the record has a scratch. I also loved it when the Man in Chair puts the wrong record on at the beginning of Act 2 and the cast, as different characters, performs "Message From a Nightingale" from a different musical until he realizes his mistake. So funny! The entire cast is incredibly strong but I was really impressed with O'Banion because she is the ultimate diva in her rendition of "As We Stumble Along," Glenn because he is completely over-the-top in "I Am Aldolpho," and Ramey because he shows a lot of vulnerability as he compares the musical to his life. I laughed and laughed at the antics on stage (I was not alone) and I think this is a show that most everyone would enjoy.  It runs at the SCERA Center for the Performing Arts through October 9 (go here for tickets).

Note: The first time I saw The Drowsy Chaperone it was the Broadway touring production starring Jonathan Crombie (better known as Gilbert Blythe) as Man in Chair! Sigh!

The Mousetrap at HCT

Even though I am a huge fan of Agatha Christie (I made a goal of reading all of her novels when I was a teenager) and The Mousetrap, based on the short story Three Blind Mice by Christie, is the longest running play in history (it has been performed in London's West End since 1952) I had never seen it before! I was, therefore, really excited to see HCT's production of this murder mystery yesterday afternoon. Mollie Ralston (Kristi Curtis) and her husband Giles (BJ Whimpey) have converted their large estate, Monkswell Manor, into a guesthouse and are nervously getting ready to welcome their first paying customers during a severe snowstorm. News of a grisly murder with ties to a neighboring village reaches the manor just as the guests, including Christopher Wren (Colton Hattabaugh), Mrs. Boyle (Heidi Scott), Major Metcalf (Douglas Irey), and Miss Casewell (Taylor McKay Barnes), arrive one by one.  An unexpected guest, Mr. Paravacini (Chandler Bishop), arrives rather suspiciously a few hours later after his car is overturned in a snowdrift and Detective Sergeant Trotter (Adam Packard) skis his way to the snowbound manor to investigate a clue about the aforementioned murder. When one of the guests, who has a mysterious connection to the murder victim, is found dead it seems that everyone has a secret and it is up to Sergeant Trotter to solve the crime before another murder occurs. Information about each character's backstory is revealed very slowly and strict attention must be paid in order to discover the solution, including a major twist, so I found the plot to be quite riveting (I love British period dramas).  I didn't guess the ending because it is a clever subversion of traditional murder mystery tropes (there were audible gasps from the audience during a key moment). The ensemble cast is outstanding (I saw a mixture of the MWF and TTHS casts) but I especially enjoyed Hattabaugh as the eccentric Wren because he is so flamboyant and all of his facial expressions made me laugh. My favorite aspect of this production is the spectacular set (which is often the case at HCT). It is exactly what you would expect a British country manor house to look like with a large stone fireplace, wall sconces, intricate staircases, Victorian-era furniture, doilies, and landscape paintings. I was particularly struck by the attention to detail, especially the authentic women's magazines from the 1950s. I also loved seeing the snow falling outside through the window. I had a lot of fun watching this play and the traditional admonition to keep the ending a secret from future audience members put a smile on my face as I left the theatre. I highly recommend it with the proviso that younger audience members might not enjoy it (the teens sitting behind me seemed a bit bored).  The Mousetrap runs on the Sorenson Legacy Jewel Box Stage through November 20 (go here fore tickets).

Note:  Don't miss the beautiful production of The Secret Garden on the Young Living Centre Stage which runs through October 23 (go here for tickets).