It Lives Inside

I always enjoy seeing scary movies in October, and since we are getting close to my favorite month, I decided to see It Lives Inside at the Broadway last night.  I found it to be an interesting take on a traditional monster movie.  High school student Samidha (Megan Suri), who prefers to be called Sam, has seemingly turned her back on her Indian culture and her former best friend Tamira (Mohana Krishnan) in favor of fitting in with the more popular Caucasian kids and she is at odds with her very traditional mother Poorna (Neeru Bajwa).  When a disheveled Tamira approaches her for help, Sam smashes the strange mason jar she is carrying which releases the monster living inside it.  Tamira mysteriously disappears and an invisible demonic presence begins stalking Sam and harming those she loves.  She eventually discovers that the demon is a Pishach and that she must embrace her heritage in order to defeat it.  I really liked the use of Hindu mythology and the use of a monster as a metaphor for losing yourself in order to assimilate because this makes what could be seen as a derivative story (it reminds me so much of The Boogeyman) more compelling.  There are some great tension-filled sequences, such as a shadowy figure hiding in the closet and an amorphous shape stalking Sam's teacher (Betty Gabriel) down a hallway, that are frightening more for what we don't see than for what we do.  However, this makes the final confrontation, when we finally do see the monster, a little bit underwhelming because it is not as scary.  None of the characters are well developed (I especially wanted to know more about Tamira) but Krishnan and Suri both give performances that sell the terror they feel very effectively.  Despite a few flaws It Lives Inside is an intriguing way to begin the spooky season and I recommend it.

Sting at USANA

Yesterday may have been the official first day of fall but I still had one more summer concert left!  Sting at USANA Amphitheatre was a great one to end on (even if it was really cold).  His setlist last night spanned his nearly 45 year career, both as a member of the Police and as a solo artist, and included both his biggest hits and a few deeper cuts.  The latter included "Heavy Cloud No Rain," "If It's Love," "Loving You," "Rushing Water," "Why Should I Cry For You?," "I'm So Happy I Can't Stop Crying," and a fantastic version of "So Lonely" which turned into "No Woman No Cry."  The hits from his prolific solo career included "Englishman in New York," "If You Love Somebody Set Them Free," "If I Ever Lose My Faith In You," "Fields of Gold" (one of my favorite moments), "Brand New Day" (with an incredible harmonica intro by Shane Sager), "Shape of My Heart" (with a soulful solo by backup vocalist Gene Noble), "All This Time," "Mad About You," and "Desert Rose" (another favorite moment).  I have to admit that I really loved it when he sang the songs he wrote while he was a member of the Police because they brought back so many memories for me (this was yet another concert filled with nostalgia).  He began the show with "Message in a Bottle," which got the crowd up and cheering, and continued with "Everything Little Thing She Does Is Magic," "Invisible Sun," Walking on the Moon," "King of Pain" (which he sang with his son Joe Sumner who opened for him), then he ended his main set with "Every Breath You Take."  I sang every single word to these old Police songs and it was so much fun!  For the encore, he came back to the stage and asked the crowd what they wanted to hear and then played a sultry version of "Roxanne" (it was the overwhelming response from the crowd and I may or may not have screamed it myself).  He ended the show with "Fragile," like he did the last time he was at USANA with the Utah Symphony, because he likes to give the crowd something to think about on the drive home.  He didn't play "Fortress Around Your Heart" (my very favorite Sting song) but I forgave him because I've heard it live before and this show was so amazing!  I was really impressed with Sting's performance because, at 71 years old, he sang and played bass for close to two hours without a break and his voice sounded great!  He wasn't quite the raconteur that he was the last time I saw him (he had a lot of songs to get through) but he was very charming and had some humorous interactions with the crowd.  I loved every minute of this show (even when I got cold).

Note:  My friend Tony and I saw him in concert at Red Rocks Amphitheatre in Denver and then drove home the next day to see him again that night at the Maverick Center.  It was awesome!

Joseph and the Amazing Technicolor Dreamcoat at the Eccles

I have seen Joseph and the Amazing Technicolor Dreamcoat so many times I've lost count so it takes something special to pique my interest in seeing yet another production.  When I found out that Casey Elliott (my sister has turned me into a huge fan) would be starring as Joseph in a concert version of the show with Lexi Walker as the Narrator and other well-known actors from the Utah theatre scene in the cast, I immediately bought a ticket!  The show was last night and Elliott is the best Joseph I have ever seen (I am still extremely bitter that I saw the understudy instead of Donny Osmond when the Broadway touring production was in town).  It tells the well-known Bible story of how Joseph rises to become the Pharaoh's second-in-command after his brothers betray him for being their father's favorite with songs that span every musical genre.  This is a concert rather than a full production but it features really fun costumes, exciting choreography, and a simple multi-level set.  The brothers, including Kyle Olsen (sigh) as Reuben, Abram Yarbro as Simeon, Zac Wilson as Levi, Matthew Sanguine as Naphtali, Corwin Belnap as Issachar, Keith Goodrich as Asher, Avery Ernsberger as Dan, Scotty Fletcher as Zebulon, McCade Matheson as Gad, Yahosh Bonner as Judah, and Joey Hokulani as Benjamin, each have a different color of athleisure wear with Joseph in white and the wives, including Abby Miller, Keyara Hebdon, Adrien Swenson, Maggie Christensen, Bailey Matheson, Eliza Lucero, and Emma Andreasen Moore, wear sparkly black outfits with shoes in a color that corresponds to a brother.  Accessories are added for various numbers and I especially loved the tinsel fringe coats (made famous by Taylor Swift) worn by the wives in "Go, Go, Go Joseph" and the berets worn by the brothers in "Those Canaan Days." The set looks a bit like a pyramid, which works especially well for "Song of a King," and has four different levels (Walker sometimes struggled to reach the different levels with her stiletto heels but her reactions to her wobbles were so funny) with lights on the edge of each one that flash and change colors (I loved the lighting effects for "Close Every Door" because they look like a prison). The fabulous live orchestra sits on stage on either side of the set and the One Voice Children's Choir is located behind it.  While the songs don't have the usual staging they do have some great choreography, especially "Jacob and Sons," "One More Angel in Heaven," "Go, Go, Go Joseph," "Song of a King," "Those Canaan Days," and "Mega Mix." The performances are outstanding and the audience responded the most to Elliott's powerful rendition of "Close Every Door" (he and the choir just about blew the roof off the Eccles Theatre), Walker's "A Pharaoh's Story," Shaun Johnson's hilarious "Song of a King," and Bonner's interpretation of "Benjamin Calypso."  This was so much fun and I recommend getting a ticket to one of the two remaining performances today (go here).

Around the World in 80 Days at HCT

If there is one thing that sets Hale Centre Theatre apart from all of the other local theatre companies it is their ability to create dazzling and awe-inspiring spectacles on their million dollar state of the art stage and that is exactly what they have done with their latest production, Around the World in 80 Days. I had the chance to see it last night and I loved it because it is so much fun! The story, based on the novel of the same name by Jules Verne, is simple and centers on a wager that a wealthy and eccentric Victorian gentleman named Phileas Fogg (Will Ingram) makes with the members of his club. He bets half of his fortune that he can circumnavigate the globe in 80 days and he and his hapless valet Passepartout (Ryan Simmons) set off that very night! Soon Inspector Fix (BJ Whimpey), who believes that Fogg robbed the Bank of England, and Mrs. Aouda (Niki Rahimi), a woman they rescue from a funeral pyre in India, join them to visit various exotic ports around the world as they race the clock to return to London in time. This adaptation by Laura Eason is highly theatrical and every port of call, including Suez, Bombay, Calcutta, Hong Kong, Yokohama, Chicago, and Liverpool, features wildly imaginative sequences with beautiful costumes (I loved all of Mrs. Aouda's elaborate dresses), dynamic projections (I loved the routes shown on various maps as they travel), clever sets (I loved the use of steamer trunks on all of the different modes of transportation), and energetic choreography with aerialists (Dave Hollerbach, Lance Nielsen, Mandi Johnson, Jessica Kehl, Alyssa Larson, and Samantha Nielsen) performing on various apparatuses (I loved the silks). My favorite sequences are an elephant ride in India, an encounter in an opium den in Hong Kong, a circus in Yokohama, a Wild West train robbery, and a storm at sea. This is not a musical per se but there is a stirring soundtrack that complements the action very well (I particularly loved the use of an aria from the opera I Pagliacci). The whole show is staged as a Victorian melodrama with red velvet curtains around the theater, vaudeville style footlights surrounding the stage, and chandeliers hanging from the rafters. Queen Victoria (Julie Silvestro) even watches the show from the audience! The actors also mimic vaudeville performers and I was especially impressed with Simmons because his physicality is brilliant and his facial expressions are hilarious and completely over the top. The aerialists are simply amazing (I do not know how they do what they do and I couldn't take my eyes off them) and the ensemble (who all play multiple roles and move set pieces seamlessly on and off stage) is also outstanding. This is a show that is not to be missed and I cannot recommend it enough! It runs on the Young Living Centre Stage through October 21 (go here for tickets).

A Haunting in Venice

As a fan of Kenneth Branagh's previous Agatha Christie adaptations, I was really excited to see A Haunting in Venice last night.  I thoroughly enjoyed it and think it is the best of the trilogy.  Crime novelist Ariadne Oliver (Tina Fey) compels Hercule Poirot (Branagh), now living in Venice with a former police officer named Vitale Portfoglio (Riccardo Scamarcio) as a bodyguard, to come out of retirement to attend a seance and help her expose a medium as a fraud.  The seance takes place on Halloween at a palazzo, purported to be haunted by the spirits of orphans who died there, owned by the opera singer Rowena Drake (Kelly Reilly).  She has enlisted the medium Joyce Reynolds (Michelle Yeoh) to contact the spirit of her daughter Alicia who committed suicide after her fiance Maxime Gerard (Kyle Allen) broke their engagement.  During the seance, Reynolds seems to be possessed by Alicia's spirit and announces that she did not die by suicide but was murdered by one of the guests.  When Reynolds is later found dead, Poirot surmises that she was killed by the same person who killed Alicia and enlists Oliver's help to interrogate the guests: Rowena's housekeeper Olga Seminoff (Camille Cottin), Alicia's doctor Leslie Ferrier (Jamie Dornan) and his precocious son Leopold (Jude Hill), Reynolds' assistants Desdemona and Nicholas Holland (Emma Laird and Ali Khan, respectively), and Gerard.  This is very loosely adapted from Christie's novel Hallowe'en Party and, once I stopped worrying about the differences between it and the source material, I began to appreciate it as a moody and atmospheric exploration of grief with some powerful performances from Branagh and his all-star cast.  I loved the addition of the supernatural to the usual murder mystery and there are some truly scary sequences.  The images on the screen are stunning and the cinematography makes use of fish-eye lenses, Dutch angles, extreme close-ups, and overhead shots to emphasize the disorientation felt by the characters.  The dramatic low-level lighting and the score by Hildur Gudnadottir (who is becoming one of my favorite movie composers) featuring a plaintive melody by a solo clarinet adds to the unease.  I really liked Murder on the Orient Express and Death on the Nile but I loved this and I highly recommend it!

Note:  I really hope Branagh keeps making these adaptations!