Ballet West's Cinderella

I was really excited to see Ballet West's production of Cinderella last night because, not only is it incredibly beautiful, it is also really funny!  It tells the well-known story of Cinderella (with a few differences from the Disney version) and features music by Sergei Prokofiev, choreography by Frederick Ashton, and all new costumes and sets.  The stepsisters, who are portrayed by male dancers (Dominic Ballard and Jonas Malinka-Thompson), are absolutely hilarious and I loved the scenes where they are getting ready for the ball (their gowns are very elaborately embellished), having a lesson from a dance master, and dancing at the ball with Wellington (Robert Fowler) and Napoleon (Vinicius Lima, who is a hoot).  I can't imagine how difficult it must be for trained ballet dancers to appear so awkward and to dance so badly!  The Fairy Godmother (Anisa Sinteral) has the Fairies of Spring (Kristina Pool), Summer (Victoria Vassos), Autumn (Rylee Ann Rogers), and Winter (Nicole Fanney) give Cinderella gifts before she transforms her into a princess and I really enjoyed these dances (and the young dancers who appear as their attendants).  The costumes and backdrops for the fairies evoke each of the seasons perfectly and I especially loved the falling leaves for Autumn and the fog for Winter.  Lexi McCloud is a beautiful Cinderella and her dance with a broom as a partner is really endearing, her entrance to the ball is stunning (seeing her descend the stairs on pointe was quite impressive and gave me goosebumps), and the Grand Pas de Deux with the Prince (Jordan Veit) is incredibly romantic with intricate choreography that is dazzling to watch (I also loved the music during this dance because it is very dramatic, especially the timpani).  Cinderella's costume for the ball is gorgeous but I was really impressed by her transformation back to a scullery maid at the stroke of midnight because it happens so quickly.  The dances at the ball with the Prince's attendants (I loved that their costumes matched the fairies) and the courtiers are charming but I was blown away by the athleticism of the Jester (William Lynch).  The final scene as Cinderella and the Prince dance with glitter falling all around them is absolutely magical.  I had a wonderful time watching this ballet and I highly recommend it but only one performance remains (go here for tickets).

Bravo Broadway

Last night I went to the Bravo Broadway concert featuring the Utah Symphony and guest vocalists Scarlett Strallen, Dee Roscioli, and Hugh Panaro.  It was wonderful!  Before the show, guest conductor John Gennaro Devlin told the audience that the first half would feature classic Broadway standards and the second would include songs from popular shows on Broadway today and I'm not sure which I enjoyed more!  The orchestra began with the Broadway Tonight Overture and then all three soloists came to the stage for "Lullaby of Broadway" from 42nd Street.  Strallen, who has a beautiful coloratura soprano voice, continued with a lovely version of "I Could Have Danced All Night" from My Fair Lady, Panaro sang an incredibly moving version of "Not While I'm Around" from Sweeney Todd (all of the lights on stage turned red during this song), and then Roscioli just about blew the roof off Abravanel Hall with her version of "Don't Rain on My Parade" from Funny Girl.  Next came a romantic performance of "Stranger in Paradise" from Kismet and then the orchestra continued with a medley from West Side Story (which included audience participation).  All three soloists performed an amusing version of "Getting Married Today" from Company, Panaro gave a spirited rendition of "Ya Got Trouble" from The Music Man, and then everyone performed "Before the Parade Passes By" from Hello, Dolly! to conclude the first half.  After the intermission, Panaro sang "You'll Be Back" from Hamilton (complete with a crown) and this was obviously my favorite  performance of the night but Roscioli's rendition of "Memory" from Cats gave me goosebumps!  I love that Panaro and Strallen included "The Song That Goes Like This" from Spamalot next because it is such a spoof of Broadway musicals and the fact that they sang it so seriously was hilarious.  The orchestra played a really fun medley from Mamma Mia that got the audience cheering and then Strallen and Roscioli (who has had the longest run playing Elphaba on Broadway and on national tours) sang "For Good" from Wicked.  Roscioli continued with "Defying Gravity" (her dress was pink so she joked that she was wearing the wrong color but at least all of the lights on stage were green) and this was another favorite moment.  A Bravo Broadway concert just isn't complete without Phantom of the Opera so Panaro and Strallen sang "Phantom of the Opera" and then Panaro gave an incredible performance of "Music of the Night" that brought the house down!  For the encore, they performed a medley of love songs for Valentine's Day (my favorites were "Love Changes Everything" from Aspects of Love and "I Don't Know How to Love Him" from Jesus Christ Superstar).  I enjoyed this concert so much and, if you love musical theatre as much as I do, I highly recommend getting a ticket to tonight's performance of the same program (go here) but act quickly because there were very few empty seats last night.

Captain America: Brave New World

Last night I went to a Thursday preview of Captain America: Brave New World and, while it is not the best entry in the MCU, I liked it.  Thaddeus Ross (Harrison Ford) is elected President of the United States and, because of his problematic behavior in the past, he wants his legacy to be a treaty in which the adamantium discovered on Celestial Island is shared between several nations including Japan.  However, Samuel Sterns (Tim Blake Nelson) holds Ross responsible for his incarceration after the events in The Incredible Hulk and uses his superhuman intelligence to disrupt the treaty negotiations.  Sterns uses mind control to compel the veteran and super soldier Isaiah Bradley (Carl Lumbly) to attempt an assassination of the president as he addresses international leaders.  Sam Wilson (Anthony Mackie) works with Joaquin Torres (Danny Ramirez) and Ruth Bat-Seraph (Shira Haas), an ex-Widow who is now a government agent, to clear Bradley's name but more manipulation from Sterns forces Captain American and the Falcon to intervene in order to prevent a war with Japan and a threat from Ross.  The story is a bit unwieldy and convoluted (there is also a plot involving Giancarlo Esposito as the Sidewinder and some stolen adamantium) but once it gets going I really enjoyed seeing a president try to be a better man and a new hero grappling with comparisons to an old one before finding his true strength.  I loved Mackie's more stoic performance (it is appropriate and I didn't miss the wisecracking usually found in the MCU at all) and I found his portrayal of Sam's relationships with Isaiah and Joaquin (Lumbly and Ramirez are also great) to be very affecting and a great way forward for the character.  Ford is outstanding as a man trying to reconcile his past mistakes but I feel like Esposito is wasted in role that is not fully realized.  The biggest problem with this movie is the way it looks.  Some of the CGI in the action sequences is really chaotic and the confrontation with the Red Hulk, especially in the cherry trees, is so obviously in front of a green screen that it is laughable.  There are definitely issues but I had fun with it and I am now eager to see more of the character in the upcoming Avengers movies.

The Play That Goes Wrong at West Valley Arts

Last night I went to see The Play That Goes Wrong at the West Valley Performing Arts Center and, since I am very familiar with this show, I was really intrigued to see how it would be staged in the round. They actually pulled it off because it is one of the funniest versions I've seen! The titular play is The Murder at Haversham Manor by Susie H. K. Brideswell and it is being performed by the Cornley Polytechnic Drama Society. It stars Max (Dan Radford) as Cecil Haversham/ Arthur the Gardner, Chris (Adam Packard) as Inspector Carter, Jonathan (John Valdez) as Charles Haversham, Robert (Bryan Dayley) as Thomas Colleymore, Dennis (Samuel Wright) as Perkins the Butler, and Sandra (Britty Marie) as Florence Colleymore. The Director is Chris, the Stage Manager is Annie (Jillian Joy), and the Sound and Lighting Director is Trevor (Armando Serrano Huerta). The set is slowly falling apart, the props malfunction or go missing, the sound designer accidentally plays Duran Duran instead of the sound cues, a missing dog is not found until bows, one actor cannot stay still while playing the murder victim, one actor cannot remember his lines, one actor is overly dramatic and then milks the audience for applause, and the leading lady is injured halfway through the show and must be replaced by Annie (and then Trevor) with script in hand but the show must go on! The staging (which I won't spoil here) is absolutely brilliant because, since it is in the round, everything happens in front of the audience! I especially loved the visible backstage area and all of the stage crew members (more than are usually used in this show) who are shown running around in a panic. The set is one of the most elaborate I've seen at West Valley Arts and I particularly loved the second floor study, which eventually collapses spectacularly, and the elevator, which is hand-cranked to great comedic effect. The physical comedy is so much fun to watch and my favorite moments are when Florence, Thomas, and Inspector Carter get stuck in a loop which involves drinking paint thinner instead of whiskey because Perkins can't remember his next line, when Cecil and Thomas have to answer the phone (with the help of an audience member) while holding the set together, when Perkins and Thomas walk through the audience because they can't open the door, when Cecil cannot bring himself to kiss Florence, and when Annie and Sandra have a long and drawn out fight over who gets to play Florence. The entire cast is fantastic but the standouts for me are Dayley because he is so hilariously exasperated (he was often standing near me and his facial expressions made me laugh out loud), Radford because his gestures are so over the top, and Joy because she is an absolute hoot once she gets into character while playing Florence. I don't think I stopped laughing all night and I highly recommend getting a ticket (go here) for a really fun night out!  It runs at the West Valley Center for the Performing Arts through Mar 1.

Note:  If you go (you should!) try to get to your seat as early as you can because there are hijinks before the show even begins!

The Seed of the Sacred Fig

The second movie in my double feature at the Broadway last night was The Seed of the Sacred Fig and it is an incredibly compelling and powerful indictment of the authoritarian regime in Iran.  Iman (Missagh Zareh) is promoted as an investigating judge in the Revolutionary Court of Tehran but, because he must regularly sign death warrants, the position is dangerous because people often attempt to seek retribution.  He is advised to keep his job secret from his family, which includes his wife Najmeh (Soheila Golestani) and teenage daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki), and he is issued a gun for protection.  However, Najmeh insists that he tell his daughters about his job but they are becoming critical of the regime after the death of a young woman in police custody sparks widespread protests.  Rezvan eventually confronts her father when her friend Sadaf (Niousha Akhshi) is beaten and arrested at a protest.  Iman is under tremendous pressure at work because he is now expected to sign hundreds of death warrants due to the protests so, when his gun mysteriously disappears, he blames his daughters and subjects them to an intense interrogation.  When his personal information appears on social media, Iman's paranoia intensifies and he takes his family to hide at his childhood home which leads to an epic confrontation.  This has a really long runtime but I was absolutely riveted as the domestic drama mirrors the one that is playing out on the streets of Tehran.  The tension escalates very slowly as the two girls come to realize that the information on the news is not supported by what they are seeing on social media (actual footage from the protests that erupted in Tehran in 2022 is used and it is horrifying to watch) and that their father is complicit in what is happening.  Then the tension becomes almost unbearable in the third act with a truly frightening interrogation scene and an extended chase sequence that had me holding my breath.  The performances are understated but very effective (and incredibly brave) and I was especially impressed by Golestani because you can feel how torn Najmeh is between supporting her husband and protecting her daughters.  I was blown away by this movie, and the lengths to which director Mohammad Rasoulof went in order to bring it to the screen, and I highly recommend it.