Sarah McLachlan at Utah First Credit Union Amphitheatre

During my mid-twenties I had a very dark period in which I had a serious bout with depression.  I used to lay on the floor of my living room in my tiny apartment in the dark and listen to music for hours instead of doing anything productive.  One of my favorite albums during this time was Fumbling Towards Ecstasy by Sarah McLachlan.  I bought it because I was obsessed with the song "Possession" but there were many other songs that resonated with me, especially "Fear," "Good Enough," and "Hold On."  I listened to it over and over and I really think it helped me find my way out of that hole I was in.  I can't believe that it was released 30 years ago (now you can work out how old I am)!  Sarah McLalchlan is touring in honor of this milestone so I definitely had to get a ticket to hear her perform it in its entirety at the Utah First Credit Union Ampthitheatre last night!  It was an incredible show and it made me feel quite emotional to hear these songs again track by track in order.  She began with a Greatest Hits set, including "Sweet Surrender," "Building a Mystery," "I Will Remember You," "Drifting," "Song For My Father," a sultry version of "World on Fire," "Adia," and "Beautiful Girl."  She performed "Answer" on piano with all of the members of her band singing backup around her and it was quite dramatic!  She finished this set with "Witness" and, while the band played an extended outro, she left the stage to change outfits for the Fumbling Towards Ecstasy set (her daughter insisted that she change outfits and she did even though she told her that she wasn't Taylor Swift).  I have seen U2 and Alanis Morissette perform albums in their entirety to commemorate their anniversaries (The Joshua Tree and Jagged Little Pill, respectively) and I really like this concept because you get to hear songs that are rarely, or even never, performed live!  I especially loved hearing "Wait," "Mary," "Elsewhere," "Circle," and "Ice" because, even though I have seen her in concert several times, I had never heard them live before.  Of course "Possession," my favorite Sarah McLachlan song, was a highlight but her performance of "Fear" gave me goosebumps because she sounded amazing hitting all of those high notes!  For the encore, she performed a new song from a forthcoming album called "Gravity," which she wrote for her daughter, and then a beautiful interpretation of "Angel."  She sounded better than I have ever heard her and she was full of stories about her songs (I loved her explanation of how "Adia" came to be written).  I really loved this show because, even though it reminded me of a difficult time in my life, I am glad that I am still around to hear these songs!

The Dead Don't Hurt

Last night I went to the Broadway to see The Dead Don't Hurt and, even though I was really looking forward to it, I was surprised by how much I enjoyed this deliberate and character-driven Western.  Vivienne Le Coudy (Vicky Krieps) is a fiercely independent French Canadian living in San Francisco during the 1860s.  She was traumatized as a child by the death of her father who went to war against the English and never returned and this fuels a recurring fantasy about a knight in armor.  She believes that she has found him when she meets a Danish immigrant named Holger Olsen (Viggo Mortensen) and she agrees to travel with him to his homestead on the edge of a small town in Nevada.  They begin a life together but, at the outbreak of the Civil War, Holger makes the fateful decision to enlist and fight for the Union which leaves Vivienne to fend for herself against the corrupt Mayor Rudolph Schiller (Danny Huston), the powerful rancher Alfred Jeffries (Garret Dillahunt), and his violent son Weston Jeffries (Solly McLeod).  When Holger returns from war, he and Vivienne must both make peace with the consequences of his actions but he eventually does become the knight in armor she imagined.  The story is nonlinear and very measured (some might say slow) but I appreciated the time that is taken to establish the relationship between Vivienne and Holger, mainly through scenes without dialogue, and her backstory, through flashbacks, because this informs the action in the third act.  It does feature the traditional gunfight in a saloon that Westerns are known for (there are a few scenes of violence but the most egregious act is implied rather than shown) but the bittersweet romance was more compelling to me that the story of revenge.  Krieps and Mortensen (who also directed and wrote both the screenplay and the score) give brilliant performances that are highly nuanced and believable plus they have a lot of chemistry.  The cinematography is beautiful and I loved the symbolism of an unfinished barn.  Fans of more traditional Westerns might find this boring but I loved it.

Note:  The knight that appears in Vivienne's visions carries a sword that fans of The Lord of the Rings: The Return of the King will recognize!

The Little Mermaid at the Draper Amphitheater

One of my favorite things to do in the summer is see a live performance outside under the stars and I was able to see my first theatre production last night at the Draper Amphitheater. This was actually the first of three productions of The Little Mermaid that I have scheduled this month and it was so much fun! A mermaid named Ariel (Amanda Frisby) just wants to be where the people are but her father King Triton (Mike Handy) doesn't trust them. After she saves Prince Eric (Danny Keetch) from a storm that sinks his ship, Triton destroys her collection of human objects and forbids her from going to the surface again. Ariel defies her father and accepts a deal with her aunt, a sea witch named Ursula (Naomi McClure), to trade her voice for a pair of legs. She must get Prince Eric to kiss her within three days so a crab named Sebastian (Chad Smith), a fish named Flounder (John Arntz), and a seabird named Scuttle (Sam Martinez) attempt to help her. This show put a huge smile on my face because it was filled with so much heart. Both Frisby and Keetch have beautiful voices and have tremendous chemistry together. Frisby portrays Ariel's wide-eyed wonder very well, espcecially in "Part of Your World," and Keetch is incredibly endearing in "Fathoms Below," "Her Voice," and "One Step Closer." I was also impressed with all of McClure's antics as Ursula (I loved her peformance of "Poor Unfortunate Souls") and Smith's as Sebastian ("Kiss the Girls" and "Les Poissons" are highlights). The ensemble of dancers, featuring Hilary Biggart, Addison Brotherson, London Brotherson, Aliya Gardner, Eliza Hebdon, and Ileah Washington, is outstanding and I particularly enjoyed the tapping in "Positoovity." There are lots of really fun effects used in this show and, while Ariel, Eric, Scuttle, and even Ursula fly across the stage (the scene where Ariel saves Eric is very dramatic) and aerialists perform on silks, I loved seeing Ariel and her sisters (Lizzie Burget, Brielle Denning, Addison Horrocks, Abbie Ricord, Olivia Shelton, and Miranda Stokes) glide around the stage on heelys, King Triton and Flounder on hoverboards, and Flotsam (Jessica Duncan) and Jetsam (Alyx Rees) in rollerblades. They even had the turtles crawling around on skateboards during "Under the Sea." The staging of the big numbers is a lot of fun and everyone really liked it every time the cast came out into the audience! My favorite is when Chef Louis (Dwight Western) chases Sebastian into the crowd during "Les Poissons," The backdrops and set pieces are great and the costumes, especially for all of the sea creatures (the jellyfish made out of umbrellas were so cute) and for Ursula, are very creative. The best thing about community theatre is seeing so many children in the audience with huge smiles on their faces and this particular show is especially magical! There are two more chances to see it (go here for tickets) and I highly recommend it for the whole family!

Ezra

Last night my nephew and I went to the Broadway to see Ezra and we both enjoyed it.  Max (Bobby Cannavale) is a stand-up comedian with anger issues living with his father Stan (Robert De Niro), with whom he has a contentious relationship, and struggling to co-parent his autistic son Ezra (William Fitzgerald) with his ex-wife Jenna (Rose Byrne).  When he and Jenna have a difference of opinion about the correct school placement for Ezra, Max impulsively decides to take him on a road trip to learn how best to advocate for him and, in so doing, he improves his relationship with both his son and his father.  What I really liked about this movie, despite some very convenient plot contrivances, is that Max has preconceived notions about who his son is and what is best for him but he finally sees him and accepts him for who he really is.  Cannavale gives an incredibly nuanced performance, one of his very best, as a dad who doesn't know how to help his son but knows that he needs to do a better job than his dad did with him.  There is an especially poignant scene between him and Fitzgerald where Ezra lashes out at Max that gave me goosebumps.  De Niro is also fantastic, especially in a monologue where Stan admits that he wasn't a good father, and Byrne shines as an overwhelmed mother who is trying her best (I really love that Jenna is also a sympathetic character).  My favorite performance is by Fitzgerald, an actor on the autism spectrum making his debut, because he is so authentic and endearing.  I have never been diagnosed but I have many characteristics and behaviors that make me think that I am on the spectrum and I really appreciate the sensitivity and respect with which the character is portrayed (I was particularly moved by scenes in which Ezra reacts to being touched).  The ending is a bit rushed and I wish that there had been another scene explaining how Max and Jenna came to consensus about Ezra's schooling (since that was the catalyst for the whole movie).  However, this is a heartwarming look at the realities of raising a child with autism and the performances overcame any of my issues with the story.  I would recommend it.

In a Violent Nature

Everything I heard about In a Violent Nature, both good and bad, made me very excited to see it.  I finally had the chance last night and, while I can understand why people might not like it, I really dug it.  A group of friends, including Kris (Andrea Pavlovic), Colt (Cameron Love), Troy (Liam Leone), Aurora (Charlotte Creaghan), Brodie (Lea Rose Sebastianis), Ehren (Sam Roulston), and Evan (Alexander Oliver), are staying at a cabin in an old logging camp with a history of tragedy in northern Ontario.  When they discover a fallen fire tower in the forest, Troy notices a locket which, he eventually learns, once belonged to the son of a firefighter named Johnny (Ry Barrett) who was lured to the tower by loggers and then fell to his death.  He takes it to give to his girlfriend Kris but this theft reanimates Johnny's corpse, which had been buried under the fire tower, and he begins killing the group of friends one by one for retribution.  What distinguishes this from other slasher movies is that it is from the POV of the killer, rather than the victims, as he slowly and methodically (in some long continuous shots that follow Johnny from behind) stalks them through the forest.  Since we know where the killer is at all times there is not a lot of tension but there is a very palpable sense of dread as each victim inevitably succumbs to his increasingly inventive violence.  Johnny wears a vintage firefighter's mask and uses the tools that would be available in a logging camp, such as drag hooks, chains, axes, and log splitters, in some of the most brutal and gory scenes imaginable (there is one scene in particular that is so shocking I had a visceral reaction to it).  The fact that all of this violence takes place in such a beautiful location filled with sun-dappled trees and crystal lakes is also quite disconcerting, especially in scenes where Johnny seems to blend in with nature before he attacks.  Barrett gives a silent but riveting physical performance but some of the other actors are a bit cringe-worthy (I actually think that this would have worked better with no dialogue at all).  I'm also not sure the shift in POV from Johnny to one of the victims in the third act really works (aside from a brilliant cameo) but I have to admit that I'm still thinking about it.  This is a slow burn that many will find tedious and it is definitely more disturbing than scary but I liked it!