Madame Web

The second movie in my double feature yesterday was Madame Web and, after reading some horrible reviews, I really wanted to give it a chance but it is just so bad.  Cassandra "Cassie" Webb (Dakota Johnson) is an antisocial paramedic who gains the ability to see into the future after a near death experience.  While on a train she has a vision of an attack on three girls, Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced), and Mattie Franklin (Celeste O'Connor), by a man with spider-like abilities.  She rescues them before the attack can happen and then recognizes the man as Ezekiel Sims (Tahar Rahim), an explorer who was in the Amazon with her mother when she was researching spiders right before she died (this meme-able line from the trailer is not actually in the movie).  It seems that he stole a rare spider with healing properties from Cassie's pregnant mother and he can see his death at the hands of the three aforementioned girls in the future and wants to kill them before they can do the deed.  After another attack on the girls, Cassie reluctantly takes responsibility for them, learns her backstory and why she has this strange ability, and finally faces Sims in a fiery confrontation.  Much like the Venom movies (which I disliked) and Morbius (which I didn't even bother to see), this is another attempt by Sony to create a full-fledged narrative about a side character in the Spider-Man universe and it doesn't really work on any level.  The story is often nonsensical even though there are plenty of clunky exposition dumps in the dialogue.  The action sequences are not very interesting because the writers and the director have no idea what to do with a character whose power is mental rather than physical (she tells the girls to get down a lot) and the editing is so disjointed that it is hard to even see what is going on.  The villain is not very compelling or well developed (I have so many questions) and Rahim's ADR is some of the worst I have ever seen or heard.  Johnson can be a great actress (I love her in Cha Cha Real Smooth and The Lost Daughter) but she needs good material to elevate her performance and, in this mess, she seems completely disengaged from what is happening.  Sweeney gets the most screen time out of the three girls (I have lots of questions about them and their powers, as well) but she is incredibly bland.  Ugh!  The best part of this movie, in my opinion, is Cassie's partner Ben Parker (Adam Scott) who becomes an uncle (wink wink) during the final confrontation.  Even with very low expectations I was still disappointed with this movie and I highly recommend giving this a miss.

Note:  Don't even get me started on the product placement...

Lisa Frankenstein

Yesterday I decided to spend the day at my local multiplex for a double feature starting with Lisa Frankenstein.  I had so much fun watching this monster movie/romantic comedy mash-up!  It is 1989 and Lisa Swallows (Kathryn Newton) is still traumatized by the brutal murder of her mother and is struggling to adjust to her cruel new stepmother Janet (Carla Gugino) and popular stepsister Taffy (Liza Soberano) while trying to fit in at her new high school.  She would rather spend all of her time at a cemetery and, after an unfortunate incident at a house party, she returns there to her favorite grave of a young Victorian man.  When she wishes that she was there with him, his corpse is reanimated, albeit with a few missing parts, during a lightning storm and he finds his way to her suburban house.  She hides the Creature (Cole Sprouse) in her closet but, when he begins killing those who have wronged her, she uses their body parts to stitch him back together and creates her perfect boyfriend.  The story about a misunderstood teen looking for someone to acknowledge and appreciate her is a familiar one and, honestly, it is the weakest part of this movie but it doesn't matter because I loved everything else!  The production design is an over-the-top pastiche of all of my favorite 80s teen comedies and I especially enjoyed the use of a tanning bed to produce the necessary electricity for the Creature's transformations.  The absurdist tone balances the horror with the humor really well (think Heathers) and I was laughing out loud during a particularly grisly and blood-splattered scene in slow motion with the song "On the Wings of Love" in the background.  Newton is hit or miss with me but I think this is her best performance to date because she nails the quirkiness of the character in one fantastic Madonna-inspired outfit after another.  Sprouse gives a hilarious physical performance (he has almost no dialogue beyond grunting) and Gugino steals every scene she is in (I laughed so hard when she lamented the destruction of a Precious Moments figurine).  This is a silly and campy good time that teens and those of us who were teens in the 80s are sure to love!

Out of Darkness

I was very intrigued when I saw a trailer for Out of Darkness so I decided to see it last night.  I was surprised by how much I enjoyed this story of survival set 45,000 years in the past.  A group of prehistoric humans, including the leader Adem (Chuku Modu), his mate Ave (Iola Evans), his son Heron (Luna Mwezi), his younger brother Geirr (Kit Young), a wise elder named Odal (Arno Luening), and a "spare" named Beyah (Safia Oakley-Green), leave their home and tribe to escape a famine and travel across the sea to a new land.  However, the landscape is barren and inhospitable so they become weaker and weaker from lack of food and shelter, especially Ave who is pregnant.  They begin to suspect that there is something demonic stalking them in the darkness and their fears are confirmed when Heron is taken in the middle of the night.  Soon everyone is in danger from the mysterious threat but the greatest danger comes from their growing distrust of each other.  The dialogue is in the completely invented language of Tola, which is really cool and adds to the authenticity, and the characters, based on archetypes, are very compelling with committed performances from the relatively unknown cast.  The action, once it gets going, is tense with some incredibly unnerving moments enhanced by immersive cinematography, eerie lighting, menacing sound design (the sound of footsteps during a particularly fraught moment is almost unbearable), and a pulse-pounding score.  I was genuinely scared several times but it was more for what I didn't see than for what I did so, once the monster is revealed, it is a bit anticlimactic even if the message about the origin of hatred for others who are different is powerful and thought-provoking.  I would highly recommend this atmoshpheric thriller, especially on the big screen.

Casablanca in Concert

Getting to see Casablanca on the big screen is always very special (it is one of my favorite movies of all time) but, when you add the score by Max Steiner played live by the Utah Symphony, it is an epic experience!  This film in concert happened at Abravanel Hall last night and I loved it!  Rick Blaine (Humphrey Bogart) is a hard-drinking club owner in Casablanca who sticks his neck out for nobody even though the city is filled with desperate refugees looking for exit visas to escape the Nazis during World War II.  He successfully navigates the world of black marketeers, corrupt officials, and German officers until Ilsa Lund (Ingrid Bergman) walks into his club with her husband Victor Laszlo (Paul Henreid), a hero of the resistance who is in need of safe passage.  Ilsa was once Rick's lover in Paris but she abandoned him without explanation and, even though he has letters of transit that will ensure their safety, he is bitter and refuses to help.  Ilsa eventually confides to Rick that she still loves him but she also admires and respects Victor and will do anything to ensure that his work with the resistance continues, even sacrifice her own happiness, but will Rick sacrifice his happiness to save them?  When an orchestra plays the score live it is such an immersive experience and it really brings the action to life.  I particularly enjoyed the dramatic use of percussion during the opening scene displaying a map of Africa, the poignant use of strings whenever the plight of the refugees is described, and the menacing use of the brass when the Nazis occupy Paris.  I also loved how elements from the song "As Time Goes By" by Herman Hupfeld are incorporated as a leitmotif for Rick and Ilsa's doomed relationship and how elements from the French national anthem, "La Marseillaise" (which is sung during my favorite moment in the movie to drown out the singing of a German drinking song), are used as another leitmotif for all of the political intrigue.  This didn't have the same audience participation as some of the other films in this series but it was so much fun!  The final film for the 2023-2024 season is How to Train Your Dragon (go here for tickets).

National Theatre: Romeo and Juliet

I am not a big fan of Romeo and Juliet but I couldn't resist seeing Josh O'Connor and Jessie Buckley on stage in the title roles as part of National Theatre Live.  It is a completely reimagined version of Shakespeare's tale of woe about Juliet and her Romeo and, to my surprise, I absolutely loved it.  Unlike other performances presented by National Theatre Live, this was filmed in an empty theatre during the pandemic which allowed the action to take place on the stage and in other areas backstage (my favorite was the use of the loading dock in the scene where Romeo, Mercutio, and Benvolio sneak into the Capulet's ball and the scene when Romeo leaves Verona when he is banished).  Minimal props are used, the action begins and ends as if it is a rehearsal, and the resulting film is more cinematic than theatrical with very dynamic camera work, dramatic lighting, and editing which allows for scenes that foreshadow the tragic ending to be interspersed throughout.  The setting is modern day, which I usually do not like, but I loved the use of electronic music during the Capulet's ball and I really loved the modern take on Lady Capulet (she pushes for the marriage to Paris and speaks many of Lord Capulet's lines from the original text).  The chance to see O'Connor and Buckley was my motivation for getting a ticket and they certainly didn't disappoint because I was captivated by their performances.  Buckley's Juliet is strong and rebellious and her soliloquy before she drinks the poison gave me goosebumps (this scene is staged brilliantly with every character seated around her as ghosts).  I also loved her interaction with Lady Capulet (Tamsin Greig) when she learns she must marry Paris because it is really intense.  O'Connor's portrayal of Romeo is one of the best I've seen (I think Romeo is a very problematic character) because he is passionate rather than petulant.  This is especially evident in the fight with Tybalt (David Judge), because it is deliberate (and a bit shocking) rather than impulsive, and in the scene with Friar Lawrence (Lucien Msamati) after he is banished, because he is resigned rather than hysterical.  He has tremendous chemistry with Buckley and the night they spend together is quite steamy!  Greig is also outstanding as Lady Capulet because her portrayal is very cold and calculating and I also really liked Fisayo Akinade's interpretation of Mercutio because it is a very bold choice.  I am glad that I decided to see this because it is so good.  If you have the opportunity to see it on the big screen I would highly recommend doing so but I believe it will be available on PBS on April 23.

Ballet West's Swan Lake

Last night I was thrilled to be able to attend opening night for Ballet West's production of Swan Lake.  It is my favorite ballet and the performance definitely did not disappoint because it is beautiful!  Prince Siegfried (Adrian Fry) goes into the woods to hunt but, when he aims his bow at a swan, it becomes a beautiful woman named Odette (Emily Adams).  She explains that she is a swan by day and a woman at night because she is under the spell of an evil sorcerer, the Baron von Rothbardt (Tyler Gum).  Only true love can break the spell but, as the sun comes up, Odette reverts back to a swan and Siegfried returns home to celebrate his birthday with a grand ball.  Many princesses vie for his attention because he must marry to inherit the throne but he ignores them all, thinking only of Odette.  Suddenly, Rothbardt enters the ballroom with his daughter Odile (Emily Adams), who looks exactly like Odette.  Thinking that she is Odette, Siegfried declares his love to Odile.  When Rothbardt reveals his treachery, Siegfried rushes to Odette to beg forgiveness which she grants.  They eventually find a way to defeat Rothbardt which ends the spell very dramatically.  Tchaikovsky's score is magnificent and there are moments when the music is so heart-wrenching that it brings tears to my eyes (the themes played by the harp and solo violin are a highlight).  The choreography is beautiful, especially the pas de deux between Siegfried and Odette because it is filled with so much longing as they fall in love (I especially loved it when Odette leans back into Siegfried's arms).  Fry and Adams dance with an emotion that is palpable and I was particularly impressed with Adams (I always want to see Katlyn Addison in the lead role but Adams is becoming a favorite) because she is demure as Odette and provocative as Odile and I loved all of the swan-like mannerisms that she incorporates into her performance.  I also loved the performances of the Swan Maidens, because they are incredibly synchronized with elaborate formations (I always get goosebumps when they emerge from the fog because it is so magical), and the Hungarian dancers at Siegfried's ball, because they are so athletic.  The costumes are gorgeous (Rothbardt's iridescent cape), the sets are spectacular (the chandeliers in the ballroom), and the special effects are are dramatic (Rothbardt's disappearance).  I loved everything about this production and, judging from the thunderous applause, so did the capacity crowd at Capitol Theatre!  I highly recommend getting a ticket to one the nine remaining performances (go here).

A Gentleman's Guide to Love and Murder at CPT

Last night I finally had the chance to see A Gentleman's Guide to Love and Murder at CPT (I had to change my usual ticket with my sisters because of Sundance) and I think it might be my favorite production of this hilarious show! After the death of his mother, Monty Navarro (Christian Johnston) learns that she was a member of the illustrious D'Ysquith family but was disinherited for marrying his father. He is really Montague D'Ysquith Navarro and is in line to inherit an earldom. The catch is that there eight family members in line ahead of him! When his vain and heartless girlfriend Sibela (Claire Glaittli) marries the rich and handsome Lionel Holland, he decides to murder all eight family members ahead of him in the succession to become the Earl of Highhurst and win her back. Standing in his way are the Reverend Lord Ezekiel D'Ysquith (who has an unfortunate fall from the bell tower of his cathedral), Asquith D'Ysquith, Jr. (who has a bizarre ice skating accident), Henry D'Ysquith (who is stung by the bees in his own hive), Lady Hyacinth D'Ysquith (who falls in a volcano on an uninhabited island in the South Pacific and is presumed dead), Major Lord Bartholomew D'Ysquith (who is decapitated while lifting weights), Lady Salome D'Ysquith (who is killed when a prop gun is mistakenly loaded with real bullets during her stage debut), Lord Asquith D'Ysquith, Sr. (who suffers a heart attack from his grief over the deaths in his family), and, finally, Lord Adalbert D'Ysquith, the Earl of Highhurst, (who is mysteriously poisoned). Along the way, Monty marries Phoebe D'Ysquith (Emma Austin) which makes Sibela jealous but, after he becomes the Earl of Highhurst, he is arrested for the murder of Lord Adalbert (the only D'Ysquith death for which he is actually not responsible). The charges are eventually dismissed when Phoebe and Sibela each give proof that the other committed the murder but Monty might not live happily ever after because Chauncey D'Ysquith, the next in line to the earldom, is lurking! I've seen this show many times (it is very popular with Utah audiences) but this is my favorite production because Monty is played by my former student Christian Johnston (my original ticket was for the MWF show and he is in the THS cast so it was exciting to be able to see him) and he gives a fantastic performance showcasing his comedic timing and his amazing voice, especially in the song "Sibela." I also really enjoyed Andrew Bringhurst's performance as every member of the D'Ysquith family. He gives each character a distinct personality with hilarious facial expressions and physicality (and some quick costume changes!). I always anticipate the appearance of every family member but my favorites in this production are the outrageously flamboyant Henry who thinks everything is "Better with a Man" and the over-the-top Lady Hyacinth who just wants to do some good in "Lady Hyacinth Abroad." Glaittli and Austin have beautiful voices, particularly when they harmonize together in "That Horrible Woman," and Brighton Sloan almost steals the show as Countess Eugenia D'Ysquith! The set, featuring an elaborate stage in an old time music hall with footlights and a red velvet curtain, is one of the best I've seen at CPT and I loved all of the projections, especially when Monty and the Reverend Lord Ezekiel climb the tower in the cathedral and when Henry is chased by his bees. The staging of Asquith Jr.'s skating accident is really clever as is the scene where Phoebe visits Monty's flat when he is having an assignation with Sibela. The period costumes are gorgeous and I liked how Monty's suits get more elaborate as the show goes on and I loved all of the gowns worn by Phoebe and Sibela. I enjoyed this production so much (I don't think I stopped laughing the whole time) and I highly recommend it. It runs on the Barlow Main Stage through February 17 and tickets may be purchased here.

Argylle

I finally had the chance to see Argylle last night and I really enjoyed it until it was completely derailed by the third act.  Elly Conway (Bryce Dallas Howard) is the anxiety-ridden author of a series of books based on a spy named Argylle (Henry Cavill).  In her latest novel, Agent Argylle is searching for a computer drive that implicates a secret agency known as the Directorate but she is suffering from writer's block and can't finish the final chapter. She decides to visit her mother Ruth (Catherine O'Hara) with her cat Alfie but she encounters a real spy named Aidan Wilde (Sam Rockwell) on the train.  He saves her from a group of assassins and then informs her that her novel is eerily similar to his current mission to expose the secret agency known as the Division run by Director Ritter (Bryan Cranston) and that he needs her to finish the final chapter to help him find the computer drive before Ritter does.  This premise is initially very intriguing and the big twist about Agent Argylle's real identity actually worked for me (I somehow avoided all spoilers).  Rockwell and Howard are a great comedy duo with lots of chemistry as opposites who are thrown together by circumstances.  The action sequences on the train and in a flat in London are a lot of fun, especially the scenes from Elly's POV that show Aidan and Argylle fighting interchangeably.  However, there are so many twists and turns in the third act that the narrative becomes overly convoluted and it is hard to keep track of (or even care about) who is double-crossing whom and Rockwell and Howard's performances become less compelling (and even cringe-worthy) as their characters' motivations change.  In addition, the action sequences in the final act are laughably bombastic and look terrible (I think I groaned out loud at one point) with lots of messy slow-motion choreography and obvious CGI.  It is especially ridiculous when Aidan and Elly recreate the opening sequence performed by Argylle and a femme fatale named LaGrange (Dua Lipa).  I found this to be incredibly disappointing because it started out so well and I definitely recommend giving it a miss.

Jazz vs. Thunder

Last night I went to another Utah Jazz game with my friend Angela (she has a season ticket package and she very graciously allows me to pick several games to attend with her) and it was so much fun because it was such a great game!  The Jazz played the Oklahoma City Thunder, one of the best teams in the league, and they got a hard-fought win!  They stayed with the Thunder through the first quarter but then Oklahoma City built a double digit lead with lots of three-point shots (8 for 15).  Kris Dunn and Walker Kessler really stepped up the defense to keep the Jazz in the game but the Thunder were up 89-77 with five minutes left in the third when the offense exploded.  Lauri Markkanen and Keyonte George (I really like him) hit some really impressive shots and the energy in the Delta Center was absolutely electric!  It was so much fun to be in the crowd!  The Jazz ended up going on a 19-3 run to close out the third quarter 96-92!  The fourth quarter was a battle because the Thunder did not give up (their big three, Shai Gilgeous-Alexander, Chet Holmgren, and Jalen Williams, combined for 76 points during the game) and got within one but it was not enough because Dunn and Kessler eventually shut them down while Markkanen and George traded shots to lead the Jazz to a big 124-117 win.  I love it when the Jazz beat a really good team in front of a loud and enthusiastic crowd and it it was so much fun to catch up with Angela!

The Promised Land

Last night I went to the Broadway to see the epic historical drama The Promised Land and, since that is one of my favorite genres, I absolutely loved it!  Ludvig Kahlen (Mads Mikkelsen), the illegitimate son of a Danish nobleman and a maid, spends twenty-five years working his way to the rank of captain in the German army and, when he is discharged, he petitions the King of Denmark for permission to build a settlement on the barren moors of the Jutland peninsula.  The only compensation he requests for successfully cultivating the land is a noble title.  However, the local landowner and magistrate, Frederik de Schinkel (Simon Bennebjerg), claims that the land belongs to him and initially tries to bargain with Kahlen for control but, when he refuses, he lures his workforce away.  Tensions escalate when Kahlen hires two of Schinkel's indentured servants, Johannes and Ann Barbara Eriksen (Morten Hee Andersen and Amanda Collin, respectively), who have broken their contract and run away and when he begins a relationship with Edel Helene (Kristine Kujath Thorp), Schinkel's cousin and betrothed.  Even though he overcomes numerous challenges and a harsh winter through sheer determination, Kahlen must eventually face Schinkel in an epic confrontation with stakes that might be too high to bear.  The story, which is a fictionalized version of real events, is incredibly compelling and I was very invested in the fate of Kahlen and all of the people who become a surrogate family for him (especially a young orphan girl played by Melina Hagberg) because the characters are so well developed and the performances are outstanding.  I even had to stop myself from cheering out loud during one dramatic scene because Bannenbjerg does such a good job of making the audience hate Schinkel!  The closeups on Mikkelsen's face show every emotion he is feeling and it is a highly nuanced, yet powerful, performance.  The cinematography is gorgeous and, while I was impressed by the sweeping shots of the desolate landscape, I was just as blown away by a closeup shot of a budding potato plant.  The costumes and production design are very effective at immersing the audience in 18th century Denmark and my attention never wavered during the two hour runtime.  This is one of the best historical dramas I've seen in a long time and I highly recommend it!

Pride and Prejudice at Parker Theatre

Last night I went to see the first of two productions of Pride and Prejudice that I have scheduled this year at Parker Theatre. As a huge fan of the novel by Jane Austen, I absolutely loved this particular adaptation! When Mr. Bingley (Tom Hohl), a single man in possession of a good fortune, lets Netherfield Hall, Mrs. Bennett (Eden Benson) immediately sets her sights on him as a possible husband for one of her five daughters. Bingley falls in love with the beautiful Jane Bennett (Jasmine Hohl) but her sister Elizabeth (Maryn Tueller) takes an immediate dislike to his friend Mr. Darcy (Spencer Hohl) because he is so aloof and disdainful. Elizabeth must overcome her prejudice and Mr. Darcy must overcome his pride for them to realize that they belong together. No adaptation can include everything but this one comes very close and I was really impressed with its faithfulness to the novel. I sat in the audience with great anticipation for all of my favorite quotes ("You must allow me to tell you how ardently I admire and love you.") and I was not disappointed. One of the things I love most about the novel is that the characters are so well delineated and every member of the cast is perfect for their role, especially Tueller as Elizabeth because she is incredibly quick-witted and does a great job sparring with Darcy, Benson as Mrs. Bennett because she is hilariously overwrought when she insists that Elizabeth marry Mr. Collins and when she faints after learning of Lydia's elopement, Spencer Holl as Darcy because he is arrogant but also displays some vulnerability when he proposes to Elizabeth, and Tom Hohl as Bingley because he is so awkward when he dances with Jane. However, both Megan Heaps, as Caroline Bingley, and Tyler Hanson, as Mr. Collins, steal the show! I loved it every time Caroline tries to get Darcy's attention and I laughed out loud watching Mr. Collins dance at the Netherfield Ball. The set, featuring panels of board and batten walls, arches, and windows that slide on and off stage along with the addition of various Regency furniture pieces, is incredibly effective and I particularly liked how the panels are quickly used to create the different rooms in Pemberley during Elizabeth's tour. I also really liked the staging of scenes involving letters because they include voice-overs as they are written and read while the events described are acted out on stage. The period costumes are gorgeous (I love Empire waists), especially Elizabeth's gown at the Netherfield Ball and Lady Catherine De Bourgh's gown. I enjoyed this production so much and I highly recommend it to fans of the novel. It runs on Fridays and Saturdays through March 9 (go here for tickets).

Prokofiev's Violin Concerto No. 1

I have a lot of Utah Symphony concerts during the month of February and this makes me so happy!  Last night the orchestra was led by guest conductor Jun Markl (who is one of my favorites) and the concert featured a performance by Concertmaster Madeline Adkins as a soloist so it was pretty amazing!  The evening began and ended with symphonic poems by Richard Strauss, Macbeth and Till Eulenspiegel's Merry Pranks, and both featured quotes from the original sources and images projected on a screen.  I especially enjoyed Macbeth because the play is one of my favorites by Shakespeare and I could definitely hear the themes representing Macbeth's ambition, Lady Macbeth's attempts to persuade Macbeth to commit murder, the murder of Duncan, the madness of Macbeth, the triumph of Macduff (I loved the fanfare), and the death of Macbeth.  I was less familiar with the source material for Till Eulenspiegel but it was really fun to hear themes representing the trickster played by the solo horn and solo clarinet and those representing his pranks on workmen, clergymen, and intellectuals.  I particularly enjoyed the powerful use of percussion when he is sentenced to death by hanging for blasphemy and the clarinet which is dramatically cut off as the sentence is carried out.  I really like Adkins so my favorite piece was Concerto No. 1 for Violin and Orchestra by Sergei Prokofiev.  Even though it was composed during the most turbulent period of the Russian Revolution, it is very beautiful and lyrical.  The first movement is ethereal and the third movement is passionate (I loved the themes played by the bassoon and the tuba in the third) but my favorite was the second movement because the violin solos are absolutely dazzling as they gain intensity and speed (the sheer number of notes played is astonishing).  Adkins performed the piece brilliantly (someone sitting near me exclaimed that it was magical) and she received an enthusiastic standing ovation!  The orchestra also performed In Nature's Realm by Antonin Dvorak.  This piece is about the power of nature as both a life-giving as well as destructive force and it is very atmospheric.  I especially enjoyed the brief themes played by the flutes and oboes signifying birdsong.  I thoroughly enjoyed this concert and recommend getting a ticket for tonight's performance of the same program (go here for tickets).

Note:  This is a Masterworks Magnified program so there are lots of activities in the lobby before the concert.  You may even encounter Till Eulenspiegel up to his usual tricks.

Origin

Last night I went back to the Broadway for an early screening of Origin, a film by Ava DuVernay based on the book Caste: The Origins of Our Discontents by Isabel Wilkerson which draws parallels between the treatment the Dalit, or "Untouchables," in India, the Jews in Nazi Germany, and slaves in the American South and argues that they are victims of caste, a structure based on the idea that one group of people is inherently better than another, rather than racism.  This is more than just an adaptation of the book because it puts Wilkerson (Aunjanue Ellis-Taylor) in the middle of the story as she writes it.  She formulates her thesis and conducts research while experiencing the deaths of her husband (Jon Bernthal), mother (Emily Yancy) and cousin (Niecy Nash).  Much of her research is dramatized as it is uncovered and I found it very compelling and emotional (I cried several times), especially a study conducted by Allison and Elizabeth Davis (Isha Blaaker and Jasmine Cephas Jones, respectively) and Burleigh and Mary Gardner (Matthew Zuk and Hannah Pniewski, respectively) on segregation in the South and the work of B. R. Ambedkar (Gaurav J. Panthania) advocating for the rights of the Dalit in India.  I also found much of her research to be very eye-opening and thought-provoking, particularly a document from the German archives about the Nazis using Jim Crow laws in America as the inspiration for codifying the persecution of the Jews.  Ellis-Taylor gives an incredibly powerful and affecting performance but I think this may have worked better as a documentary because I found it difficult to connect the meandering vignettes depicting Wilkerson's grief to her specific research on oppression and subjugation.  I walked out of the theater wanting to read the book to learn more.  I didn't love the structure but I would definitely recommend it because the topic is so important.

Fiddler on the Roof at HCT

I have seen Fiddler on the Roof dozens of times (it is one of my very favorite musicals) but HCT's new production, which I had the chance to see last night, is something very special. I loved everything about it! Tevye (Daniel Hess) is a poor Jewish dairyman living in the small Russian village of Anatevka at the turn of the century. He clings to his traditions as a protection from the harsh realities of life but his three oldest daughters, Tzeitel (Lauren Pope), Hodel (Haley Mendez Wawro), and Chava (Erica Schoebinger), push against them when it comes time to find a match. Every song is instantly recognizable, including "Tradition," "Matchmaker," "If I Were a Rich Man," "Sunrise, Sunset," "Far From the Home I Love," and "Anatevka" (I had to try very hard not to sing along to every one of them), and all of the performances from the talented cast are outstanding! I was especially impressed with Hess because his version of "If I Were a Rich Man" is really fun and lighthearted but he just about broke my heart with his affecting performance of "Chavaleh." His characterization of Tevye is different from the ones I have seen before and I particularly enjoyed his dialogues with God and his interactions with Golde (Dianna Graham). Other standouts for me were Alex DeBirk, as Motel, because he made me laugh out loud with his physicality in "Miracle of Miracles" and Wawro because she brought me to tears with her heartfelt rendition of "Far From the Home I Love." I was really impressed by the choreography in "Tradition," "To Life," and "Wedding Dance" because it includes very familiar sequences, especially the Russian dance and the bottle dance, but it is also new and dynamic enough that it is exciting to watch. I absolutely loved the staging of "Sabbath Prayer" because Tevye's family is located center stage and then other families come up from the pit to join them, "The Dream" because Grandma Tzeitel (Amanda Baugh) and Fruma Sarah (Malia Morris) fly in from the rafters while Golde and Tevye's bed levitates (this put a huge smile on my face because I once played Fruma Sarah), and the "Chava Sequence" because Tzeitel, Hodel, Chava, Motel, Perchik (Kelton Davis) and Fyedka (Scott Hendrickson) dance inside of a scrim that comes down from the rafters which makes it very ethereal and dreamlike. The set, always a highlight at HCT, is very minimal but effective. Most of the props, set pieces, and other miscellaneous household items are located along the perimeter of the stage which makes it easy for them to be moved on and off during scene changes but it also creates an incredibly powerful conclusion because, as the villagers leave Anatevka, they take these items with them off stage. A large and dramatic outline of a rooftop, upon which the fiddler (Aaron Ashton) sits when he plays his solos, comes down from the rafters which emphasizes the precariousness of life in Anatevka. The bare trees located throughout the theater, the barren landscapes projected on the LED screens, and the monochromatic costumes also evoke the harsh conditions found in Russia and really set the tone. Finally, what sets this show apart from any other version that I have seen is the authenticity that is evident in every aspect of the production. Great care has been taken to ensure that the costumes, make up, wigs, sets, choreography, and performances actually represent the Jewish people who lived in Russia at the turn of the century and their culture. Watching this show was a moving experience for me and I highly recommend seeing it for yourself! It runs on the Young Living Centre Stage through March 30 (go here for tickets).

The Zone of Interest

The Academy Award nominations were announced last week and the only nominee for Best Picture that I hadn't seen yet was The Zone of Interest (click on the titles for my commentaries about American Fiction, Anatomy of a Fall, Barbie, The Holdovers, Killers of the Flower Moon, Maestro, Oppenheimer, Past Lives, and Poor Things) so I decided to see it as part of my double feature at the Broadway last night.  It is one of the most unsettling movies I have ever seen because it is a brilliant depiction of the mundanity of evil.  Rudolf Hoss (Christian Friedel), the commandant of Auschwitz, lives an idyllic existence with his wife Hedwig (Sandra Huller) and their five children in a large house next to the camp.  Hedwig is able to ignore the sound of trains, screaming prisoners, gunshots, and furnaces (the sound design in this movie gave me so much anxiety) because she is living in her dream house and enjoys having prisoners as servants in the house, being given her choice of all of the prisoners' belongings, and working in her extensive gardens and greenhouse.  Her mother (Imogen Kogge) is initially impressed by her daughter's status when she comes to visit but is horrified by the flames from the crematorium and soon leaves.  Rudolf is able to speak dispassionately about the death happening all around him because he sees his efficiency in disposing of the prisoners as a means of gaining advancement.  He is so numbed by death that he casually calculates how much gas it would take to kill the officers attending a party.  The scenes of the family going about their daily life with picnics by the river, birthday celebrations, and parties by the pool are disturbing because there is always a hint of the horrors taking place in the camp just out of sight.  However, I was most disconcerted by the scenes of janitors blithely cleaning the gas chambers, ovens, and museum displays at Auschwitz in the present because this serves to emphasize how easy it is to become accustomed to evil in plain view.  Both Friedel and Huller give chilling performances that convey so much without a lot of dialogue and the haunting score emphasizes the unease.  I was very unnerved by this movie (people in my audience sat in silence long after the credits finished rolling) and I know I will be thinking about it for a long time to come.  It is very difficult to watch but I recommend it because it is so powerful.

All of Us Strangers

A few movies on my list came out in wide release while Sundance was going on so I decided on a double feature at the Broadway last night to get caught up.  I started with All of Us Strangers and I loved this moving portrait of a man who must reconcile with his past in order to move forward in the present.  Adam (Andrew Scott) is a lonely screenwriter living in an almost uninhabited new apartment tower in London.  He meets Harry (Paul Mescal), the only other inhabitant of the building, who drunkenly flirts with him one night but, even though he is desperate for a connection, he is too uncomfortable to let him in.  When he finds some photos of his parents (Jamie Bell and Claire Foy), who died in a car accident when he was twelve, he is prompted to visit his childhood home where he finds them alive at the ages they were when they died.  He is able to interact with them so he comes out as gay to them and tearfully recounts his struggle to find a sense of belonging as a child.  He begins a tentative relationship with Harry (who is charismatic and outgoing but also feels a crushing loneliness) and, as his parents express their pride in him and love for him, it grows stronger and he is able to see a future with him.  However, there is a heartbreaking twist (while "The Power of Love" by Frankie Goes to Hollywood plays) that left me absolutely devastated.  I also cried in a beautiful scene where Adam remembers a happy moment from his childhood and his parents sing along to "You Were Always on My Mind" by the Pet Shop Boys and during a scene where his parents tell him to let go of his grief and be happy (this is probably not the best movie to see if you have recently lost both of your parents).  There are some incredibly powerful themes, including identity and the search for acceptance, unresolved grief, and the need for connection, as well as some intriguing metaphors throughout (I want to see it again if I can bear it).  The needle drops are highly effective at conveying both a feeling of nostalgia for the 1980s and a feeling of longing in the present.  Finally, all four performances are absolutely brilliant but Scott is simply amazing, especially in a highly nuanced scene with Bell.  I highly recommend this but it will probably make you cry.

Sundance Film Festival 2024

I was so happy to be back at the Sundance Film Festival again this year!  Just like last year I got a Salt Lake City pass and I recognized quite a few pass holders from last year!  I'm usually really wary of talking to people I don't know but, for some reason, I love talking to people at Sundance about independent film and I had so much fun!  I was able to see 21 films (which beats the record of 18 set last year) and I liked almost all of what I saw (I only disliked one).  My first film was How to Have Sex which was one of my most anticipated films because I had heard so much about it.  It begins as a fun and lighthearted look at three young girls on holiday in Greece after taking their exams but then it suddenly becomes more sinister as it explores themes of peer pressure and consent.  I was very impressed with Mia McKenna-Bruce's performance because it is so raw and powerful.  My second film was Eno, an innovative documentary (it uses an algorithm to change the sequence of scenes and the footage used so every screening is different) about the innovative record producer Brian Eno.  I loved the deep dive into his creative process and, as a huge fan of U2, I especially enjoyed his discussion about producing the song "Moment of Surrender" (Bono also wrote about recording this song in his memoir Surrender: 40 Songs, One Story).  My third film was Frida.  This documentary about the painter Frida Kahlo is incredibly compelling because her own words from letters, interviews, and diaries are used to tell her story and I loved the beautiful animations created from her paintings.  My fourth film was Out of My Mind which, as a former teacher, I absolutely loved!  Melody Brooks (Phoebe-Rae Taylor) is a non-verbal sixth-grader with cerebral palsy who fights to be placed in a mainstreamed classroom because, even though she cannot speak, she has a lot to say.  This is such a powerful film that, in my opinion, should be seen by every educator because more often than not the education system fails students who are different.  Taylor, who has cerebral palsy, gives an authentic and affecting performance that moved me to tears at times.  The audience gave her a standing ovation when she appeared on stage for the Q & A after the film!  My fifth film was The Greatest Night in Pop which is a behind the scenes documentary about how some of the greatest pop stars of the day came together to record "We Are the World" to aid those suffering from famine in Africa during the 80s.  I remember when this song was released so this was very nostalgic for me.  I especially enjoyed the contemporary interviews with some participants, such as Lionel Ritchie, Huey Lewis, Bruce Springsteen, and Cyndi Lauper, because they all mention feeling intimidated by all of the talent in the studio!  My sixth film was Thelma and it is both delightful and heartwarming!  When 93-year-old Thelma Post (June Squibb) is scammed out of $10,000 by someone impersonating her grandson, she is inspired by the Mission: Impossible movies to go on a quest to get her money back!  Squibb (who is 94) is so charming as an unlikely action hero and the packed crowd at my screening howled with laughter at her antics!  My seventh film was Love Me, which was another one of my most anticipated films (I’m a big fan of Kristen Stewart).  After humanity has been annihilated, a smart buoy and a satellite make contact and interact as Me (Stewart) and I Am (Steven Yuen).  As they get to know each other, they access the internet to learn what it means to be human and adopt the personas of Deja and Liam, a popular influencer couple, but in order to love each other they both must eventually learn to be their authentic selves.  It features live action, motion capture performances, as well as animation and I think it is incredibly clever.  It meanders a bit but I really dug it!  My eighth film was The American Society of Magical Negroes and this satire is hilarious but also very thought-provoking!  A mild-mannered Black artist named Aren (Justice Smith) is recruited by Roger (David Alan Grier) to be a member of a secret society dedicated to making white people comfortable around Black people (referencing the "Magical Negro" movie trope involving a Black character who only exists to advance the arc of a white character).  However, it is only when he realizes that he has been doing this his whole life that he begins to assert himself.  I was a bit uncomfortable because I recognize the reality being satirized but there were lots of moments when I laughed out loud!  My ninth film was Sasquatch Sunset which I found strangely compelling.  It chronicles a year in the life of a Sasquatch family (portrayed by Jesse Eisenberg, Riley Keough, David Zeller, and Christophe Zajac-Denek who are very expressive even though they are covered in makeup and fur) as they eat, vomit, defecate, urinate, copulate, give birth, and die (very realistically).  They periodically encounter civilization as man encroaches on their environment and the film ends with a powerful visual.  It was weird (is it even Sundance if you don't see something really out there?) but I couldn't look away.  My tenth film was Presence which is another film I was eagerly anticipating because it is directed by Steven Soderbergh.  A family in turmoil, including Chris (Chris Sullivan), Rebecca (Lucy Liu), Chloe (Callina Liang), and Tyler (Eddy Maday), moves into a suburban house hoping for a new start.  However, their chaotic relationships with each other are not improved when Chloe begins feeling a presence in the house.  This is more of an atmospheric psychological thriller than the horror movie I was expecting (a good thing) and I loved all of the camera work because it shows the POV of the ghost for the entire film.  My eleventh film was Winner which tells the true story of how Reality Winner (Emilia Jones) leaked information about Russia's involvement in the 2016 election to an online publication.  I've seen several versions of this story before but I really liked the use of dark humor in this one.  My twelfth film was Love Lies Bleeding which was the one I was most hyped for because, as a fan of director Rose Glass and of Kristen Stewart, I was excited to see a collaboration between them.  Jackie (Katy O'Brian) is an ambitious bodybuilder who stops in a small town in New Mexico on her way to a competition in Las Vegas and becomes involved with Lou (Stewart), the manager of a gym.  Her life becomes increasingly chaotic when Lou introduces her to steroids and to her dysfunctional family, including her gunrunning father (Ed Harris) as well as her sister (Jena Malone) and her sister's abusive husband (Dave Franco).  This is sexy, violent, and absolutely bonkers and I loved it but not as much as I thought I would because the ending didn't quite work for me.  My thirteenth film was Between the Temples and it was my only big miss at the festival.  Ben Gottlieb (Jason Schwartzman) is a grief-stricken cantor who is brought back to life when his former grade school teacher (Carol Kane) comes to him for instruction before her bat mitzvah.  I liked the story and the performances but I hated how it was shot and edited because all of the extreme closeups are incredibly jarring.  My fourteenth film was A Real Pain and I really loved it!  Two cousins, outgoing and charismatic Benji (Kieran Culkin) and uptight and reserved David (Jesse Eisenberg), take a guided tour through Poland to see where their grandmother, a Holocaust survivor who has recently died, came from.  They come face to face with the tragedy of the Holocaust (scenes where they visit a concentration camp are incredibly poignant) but they also feel the pain of realizing that, even though they were once close, they have drifted apart.  Kulkin gives a brilliant performance that made me laugh out loud but a monologue by Eisenberg had me in tears.  This was definitely my favorite of the festival.  My fifteenth film was DEVO and, while it is pretty straightforward documentary, I did learn a lot about a band I loved in my youth.  They formed during the aftermath of the Kent State massacre in an attempt to combine music, performance art, and their philosophy about the de-evolution of mankind and unexpectedly rose to prominence with the song "Whip It" which they say was misunderstood.  My sixteenth film was Your Monster and this screening was the most fun I had at Sundance!  Laura Franco (Melissa Barrera) is an actress in the middle of a cancer diagnosis when her boyfriend Jacob (Edmund Donovan) breaks up with her and gives the part in a Broadway musical that he wrote for her to another actress.  As she wallows in self-pity, the monster (Tommy Dewey) she banished to the closet in childhood appears again to help her find love, and revenge, again.  I laughed and laughed at this musical theatre, romantic comedy, and horror mash-up and so did the entire audience (much to the delight of the producers who were there for the Q & A).  My seventeenth film was Girls State which is a documentary about a program run by the American Legion Auxiliary for high school girls to participate in a week long immersive simulation to learn about the workings of government.  It follows several girls from Missouri and I found all of their stories to be compelling but my favorite was about a girl who investigates the disparity between Boys State and Girls State (Fun fact: I applied to participate in Girls State when I was in high school but I wasn't selected and I am still bitter!).  My eighteenth film was Super/ Man: The Christopher Reeve Story.  I didn't necessarily learn anything new about the actor but I liked the structure because it emphasizes that Reeve became Superman when he was cast in a movie but he became a real superhero after his paralysis.  It includes lots of footage from his personal home movies and it is incredibly moving (lots of people near me were wiping tears from their eyes throughout).  My nineteenth movie, Hit Man, was another one I was really hyped to see!  Gary Johnson (Glen Powell) is a mild mannered psychology professor and amateur bird watcher who sometimes provides technical support for the police.  He is roped into going undercover as a hit man during a sting operation and, because he uses psychology to appeal to the would-be criminal (and some hilarious disguises), he is very successful.  Complications ensue when he falls for a woman who hires him (Adria Arjona).  This is wildly entertaining and I predict it will be a big hit when it streams on Netflix.  My twentieth film was The Outrun which was another one I was excited to see because I am a huge fan of Saoirse Ronan.  Rona (Ronan) is an alcoholic who attempts to get sober by returning home to the Orkney Islands where she is inspired by the beautiful but wild landscape.  The non-linear narrative didn’t always work for me but Ronan gives a brilliant performance.  My twenty-first (and final) film was My Old Ass which I decided to see because I am a fan of Aubrey Plaza.  Eighteen year old Elliott Labrant (Maisy Stella) is restless and eager to leave her small rural town for the big city but, when she is visited by an older version of herself (Plaza), she learns to appreciate the life she has now.  This is a fun YA romantic comedy and I really loved the message about labels.  Whew!  I loved every minute of Sundance this year and I am already looking forward to next year!

Native Gardens at PTC

I attempted to see Native Gardens at PTC the week before the Sundance Film Festival started but after about fifteen minutes the performance was canceled. I was really sad because I wanted to see it but I didn't think I would have time to reschedule. I decided to squeeze in the matinee before my Sundance films yesterday and, even though it made for a really long day, I'm glad I did because I thoroughly enjoyed it! Frank and Virginia Butley (Michael Kostroff and Kelly Coffield Park, respectively) are an older white couple who have lived in a historic D.C. neighborhood for decades and Tania and Pablo Del Valle (Katya Collazo and Tito Livas, respectively) are a young Latinx couple who have recently moved in next door. Frank spends most of his time on his ornamental garden with the hope of winning an award from the Potomac Horticultural Society. Tania has big plans for a garden made up of native plants indigenous to the environment which are accelerated by Pablo's spontaneous decision to invite his entire law firm over for a party in order to impress them. The Del Valles receive permission from the Butleys to replace an unsightly chain link fence between the two properties but they discover that the fence is in the wrong place and that they are entitled to two more feet. However, moving the fence will ruin Frank's garden just days before the important competition. The ensuing fight over the location of the fence becomes about who is "entitled" to the land with themes that are, unfortunately, incredibly salient today and it is as ugly as what we see on the news. What I loved most about this play is that it ends on a very optimistic note which gives me hope for the future! I also found the dialogue to be really funny and I loved all of the passive aggressive bits of business that happen between scenes, such as when Pablo throws acorns from their tree into the Butley's yard. The set, featuring the houses and back gardens of each couple, is outstanding because it really highlights the differences between them (the Butley's house has been extensively renovated and modernized while the Del Valle's house has been neglected for years). The attention to detail is a lot of fun, especially when the roots of the flowers can be seen when they are pulled and when stakes denoting the new fence location are placed in the ground. Finally, I really enjoyed the use of music during the transitions between scenes ("Shout" by Tears For Fears after a particularly heated argument between the couples made me laugh). I would definitely recommend this timely and thought-provoking play about the issues that build fences between people but the run has now concluded. PTC is presenting Bonnie & Clyde next beginning February 23 (go here for tickets).

Utah Opera's The Little Prince

Last night I took a short break from Sundance to see Utah Opera's production of The Little Prince.  I loved this opera when I saw it in 2019 so I was really excited to see it again and it was as enchanting as I remember!  The story begins with a Pilot (Shea Owens) telling a group of school children (Choristers of the Madeleine Choir School) about his drawing of a snake eating an elephant.  Every adult thinks it is a hat which proves that adults can't see anything!  Then he describes crash landing his plane in the desert and meeting the Little Prince (Miles Keeton) who asks him for a drawing of a sheep to eat all of the bushes, especially the baobab trees, threatening to overtake his planet.  The Prince then recounts his life story on his planet which contains three volcanoes, one active and two dormant, and his beautiful but vain and petulant Rose (Jasmine Rodriguez).  When the Rose treats him badly, the Prince decides to visit other planets.  On the first planet he meets The King (Kevin Thompson) who has no subjects and only issues orders that can be followed, such as commanding the sun to set.  On the second planet he meets the Vain Man (Christian Sanders) who wants to be the most admired man on an otherwise uninhabited planet.  On the third planet he meets the Drunkard (Jeremiah Thompson) who drinks to forget his shame over drinking too much.  On the fourth planet he meets The Businessman (Tshilidzi Ndou) who fails to see the beauty of the stars because of his need to count and catalog them to prove ownership.  On the fifth planet he meets The Lamplighter (Jeremiah Tyson) who blindly follows orders to light and extinguish a lamppost every 30 minutes to correspond with day and night on the planet.  The Prince finds all of these adults to be ridiculous so he decides to visit Earth and lands in the desert.  He meets a Snake (Christian Sanders) who tells him he can send him home any time he wishes, a rosebush (Sarah Scofield, Julia Gershkoff, and Jasmine Rodriguez) which makes him think his Rose is just ordinary, and a Fox (Sarah Scofield) who tells him that you can only see with your heart not your eyes and that spending time with his Rose has made it special.  He decides that he misses his Rose and wants to go back home so he takes the Pilot to a well to find Water (Julia Gershkoff) which saves him and makes arrangements with the Snake to return home.  The Pilot is upset but the Prince tells him not to worry that he has died because his body is just a shell that is too heavy to return to his planet.  The Snake strikes, the Prince disappears, and the Pilot fixes his plane.  The story ends with the Pilot telling the children that he can always see the Prince by looking at the stars.  There are so many wonderful themes that can be extrapolated from this opera (I love the importance of seeing beyond the surface to appreciate the true essence of things) and the music is incredibly beautiful.  My favorite part of this particular production is the amazing vocal performance from Keeton as the Prince.  I was actually stunned when I heard him sing for the first time because his voice is so clear and I especially loved his poignant rendition of an aria describing his love for the Rose.  I also enjoyed Owens as the Pilot because his performance is warm and comforting.  The rest of the adults all shine in brief roles but the standout for me is Sanders because his characterization and physicality as both the Vain Man and the Snake are so much fun to watch!  The children who make up the chorus are outstanding and they are used very effectively in the staging of each number, particularly when they pass the lamppost around in a circle to represent a day and when they hold candles to represent stars.  I loved the bright and colorful costumes, especially the King's long train and the Rose's petal-like tutu, as well as the set, which consists of a book-lined study that transforms into hundreds of pages to represent the desert.  This is a magical production that would be a perfect introduction to opera for children and I cannot recommend it enough!  There are two more performances (go here for tickets) at Capitol Theatre on Friday and Sunday.

The Foreigner at HCTO

Last night I had the chance to see the hilarious play The Foreigner at HCTO (I rescheduled from last week because I didn't want to drive all the way from Bountiful to Orem in the snow).  I really love this show because not only is it laugh out loud funny but it also features some deeper themes about overcoming fears about those who are different and that is something that is very needed in the world right now.   Sgt. Froggy LeSueur (Brett Myers) is a British demolition expert who is visiting rural Georgia to conduct training sessions at an army base.  Froggy brings his friend Charlie Baker (Greg Larsen), who is depressed over his marital difficulties, with him and installs him at a nearby fishing lodge owned by Betty Meeks (Luone Ingram) while he is on maneuvers.  Charlie doesn't like this arrangement because he is painfully shy and fears having to interact with strangers but Froggy solves the problem by telling Betty that Charlie is a foreigner who doesn't speak English.  The other guests at the lodge are drawn to Charlie because they believe that he can't understand them.  Catherine (Kelly Pulver) pours her heart out to him because he is a good listener, Ellerd (Ian Webb) gains confidence by successfully "teaching" him English, and David (Dallin Bradford) inadvertently reveals a plot he has hatched with a local member of the Ku Klux Klan named Owen (Marshall Lamm).  Chaos ensues but Charlie begins to feel like he belongs and he eventually helps to foil David's plan.  This show features a lot of exaggerated physical comedy and I can't remember when I've laughed so hard, especially when Ellerd tries to teach Charlie the English words for all of the items in the lodge, when Charlie is asked to tell a story in his native language (which is completely made up), and when Charlie spooks Owen by pretending to control Ellerd (who is disguised in a Ku Klux Klan robe).  Everyone in the cast has great comedic timing (I don't know how they kept their composure during some of the more over the top scenes) but I especially enjoyed watching Larsen and Webb interact because their facial expressions are hysterically funny.  I loved the set and I was particularly impressed by the attention to detail (when it rained there was a slow drip of water from a leak in the roof into a pot right next to me).  I also liked the period costumes, especially Catherine's fantastic 80s fashions!  It is always fun to start the new year with a comedy and this is one that is is sure to make you laugh!  I highly recommend getting a ticket to one of the performances through February 17 (go here for tickets).

American Fiction

I have been looking forward to American Fiction ever since it premiered at TIFF so I was really excited to finally have a chance to see it at the Broadway last night.  It is a hilarious social satire but it also includes incredibly poignant themes about identity.  Thelonious "Monk" Ellison (Jeffrey Wright) is an uptight and curmudgeonly Black author and professor in Los Angeles whose books are critically acclaimed but not popular.  He attends a book conference in his hometown of Boston to try and sell his latest novel to a publisher and is dismayed when he hears a reading by best-selling author Sintara Golden (Issa Rae) because he believes that she is pandering to Black stereotypes.  He impulsively decides to write his own book featuring every offensive Black stereotype he can think of as a joke but, when his agent Arthur (John Ortiz) sells it for an exorbitant amount of money, he decides to publish it using a pseudonym because he needs the money to care for his mother Agnes (Leslie Uggams), who has recently been diagnosed with Alzheimer's disease.  As the hype builds for his book (a movie deal and a possible literary award) and his relationships with his brother Cliff (Sterling K. Brown) and his girlfriend Coraline (Erika Alexander) deteriorate, Monk faces an existential crisis.  This features a powerful and scathing commentary on how the entertainment industry views the Black experience but it is as laugh out loud funny as it is thought-provoking.  This is juxtaposed with a compelling family drama about siblings coming to terms with the roles they have been playing all of their lives and how to break free from them.  However, the journey to understanding that Monk goes on is somewhat undermined by an unsatisfactory ending that leaves him back where he started as he gives in to a choice that he has criticized Black artists for making in order to succeed (my only criticism).  Wright gives a brilliant performance, especially with all of his interactions with Tracee Ellis Ross (as his sister Lisa) and Brown and his humorous code-switching dialogue with his publisher (Miriam Shor) and a Hollywood executive (Adam Brody).  The rest of the cast is also outstanding and I especially enjoyed Brown's affecting performance.  Despite the third act, I really enjoyed this movie and would definitely recommend it.

Stephen Hough Performs Stephen Hough

Last night I was back at Abravanel Hall for my first Utah Symphony concert of 2024 and it was certainly a good one to begin the year with!  First up was a delightful piece called Cockaigne (In London Town) by Edward Elgar which is described as a musical portrait of Edwardian London.  I really loved how the instruments mimic the sounds of a big city with lots of boisterous themes by the timpani and brass.  Next, the orchestra was joined by perennial Utah favorite pianist Stephen Hough for the world premiere of his Piano Concerto "The World of Yesterday."  He took the title from Stephen Zweig's memoir about his nostalgia for life in Vienna before World War I so I was really excited to hear it (I read, and enjoyed, this book because it inspired Wes Anderson to write the screenplay for one of my favorite movies The Grand Budapest Hotel and also because I am a total nerd).  Hough spoke to the crowd and explained that he was also inspired by nostalgia for the time when composers would write works for themselves to perform on piano in order to be able to show off!  I really enjoyed this piece (it is always exciting to be the first to hear a new work), especially a lovely theme played by the clarinet and harp, and extended cadenza by the solo piano (where Hough was, indeed, able to show off), and variations of a waltz which included a fun theme by the xylophone.  The crowd gave Hough and the orchestra a rousing standing ovation and he rewarded us with an encore performance of a traditional folk song called "Blow the Wind Southerly."  After the intermission, the concert concluded with Symphony No. 5 by Ralph Vaughan Williams and this piece will now be added to my list of favorites because I absolutely loved it!  I was incredibly moved by the beautiful and emotional themes played throughout by the strings but I especially loved the third movement because it began and ended with the woodwinds and featured an incredible solo from Concertmaster Madeline Adkins.  This concert was definitely a wonderful way to spend a cold and dreary Saturday evening!

Mean Girls

I have never actually seen the original Mean Girls (one of my former colleagues was absolutely incredulous when she heard this) but I love the stage musical, especially the song "World Burn," so I was really excited to see the new adaptation yesterday.  I thought it was a lot of fun.  Cady Heron (Angourie Rice) has recently moved back to the U.S. from Kenya, where she was home schooled, and is finding North Shore High School to be as brutal as the African plains.  Two social outcasts, Janis 'Imi'ike (Auli'i Cravalho) and Damian Hubbard (Jaquel Spivey), attempt to help her fit in and advise her to avoid The Plastics, a clique made up of Regina George (Renee Rapp), Gretchen Wieners (Bebe Wood), and Karen Shetty (Avantika).  Regina shows an interest in Cady and allows her to sit with her and her friends at lunch until she discovers that Cady likes her former boyfriend, Aaron Samuels (Christopher Briney), and takes him back.  Cady devises a plan for revenge against Regina and, when it is successful, she takes her place as the leader of The Plastics.  However, this alienates her real friends Janis and Damian, angers Aaron, and disappoints her Calculus teacher Ms. Norbury (Tina Fey).  A math competition shows her that it is better to be yourself than to pretend to be someone else to fit in.  I was a little bit disappointed that two of my favorite songs from the musical, "Where Do You Belong?" when Damian describes all of the cliques at school to Cady and "Fearless" when Gretchen and Karen finally stand up to Regina, were cut but I really loved the staging of the musical numbers that remain because the camera work and choreography are very dynamic, especially in "A Cautionary Tale" and "What Ifs" because it is one long continuous take from a garage to the plains of Africa to North Shore High School, "Apex Predator" because the camera follows Regina through the school as her classmates mimic the actions of animals who are afraid of her, "Revenge Party" because it is an explosion of pastel as Janis and Damian fantasize about getting even with Regina, and, of course, my favorite song "World Burn" because it is so chaotic as the students discover what has been written about them in the Burn Book.  I liked all of the performances from the cast (including hilarious small moments from Busy Philipps as Regina's mom, Tim Meadows as Principal Duvall, and Jon Hamm and Ashley Park as teachers) but my favorites were from Cravalho because she is both fierce and vulnerable, especially in "I'd Rather Be Me," and Rapp because, in addition to her powerful voice, she is incredibly charismatic and commands the screen with attitude to spare.  I obviously cannot compare it to the original movie but I thoroughly enjoyed this version and would recommend it (especially to fans of the musical).

SIX at the Eccles

My first live theatre production of 2024 was SIX at the Eccles last night.  I had the chance to see this show with my sister Kristine in Las Vegas in 2022 and we both loved it so I was really excited to see it again!  The former wives of King Henry VIII, including Catherine of Aragon (Gerianne Perez), Anne Boleyn (Zan Berube), Jane Seymour (Amina Faye), Anna of Cleves  (Terica Marie), Katherine Howard (Aline Mayagoitia), and Catherine Parr (Adriana Scalice), get together to perform a concert with their band, The Ladies in Waiting (Jane Cardona on Keyboard, Sterlyn Termine on Bass, Rose Laguana on Guitars, and Kami Lujan on Drums).  They decide to have a competition to see which one of them has suffered the most heartache to determine the leader of the group and then each Queen proceeds to tell her story.  Catherine of Aragon (Divorced) agreed to leave her homeland at age 15, come to a country where she didn't speak the language, marry a man she had never met, spend seven years in a nunnery after he died, and then marry his brother but she did not agree to be replaced in "No Way."  Anne Boleyn (Beheaded) is sorry not sorry because she was just trying to have a little fun (what was she meant to do?) in "Don't Lose Ur Head."  Jane Seymour (Died) loved Henry but she knows that his love for her was only because of her son in "Heart of Stone."  Anna of Cleves (Divorced) was rejected by Henry for not looking like her profile picture but she ended up with a castle and more money than she can spend with no one to tell her what to do in "Get Down."  Katherine Howard (Beheaded) says her only crime was to be irresistible to men who used her in "All You Wanna Do."  Catherine Parr (Survived) argues that, even though she survived her marriage, she had to sacrifice true love in order to marry Henry in "I Don't Need Your Love."  The Queens eventually realize that they don't want to be defined by Henry and decide to lead the group together in the ultimate ode to girl power, "Six."  What I love so much about this musical is how clever it is!  Each Queen's song embodies her history so well and each performance is inspired by a real life pop star (Aragon by Beyonce, Boleyn by Avril Levigne, Seymour by Adele, Cleves by Nicki Minaj, Howard by Ariana Grande, and Parr by Alicia Keyes).  I also love how the costumes are inspired by Tudor silhouettes but feature the fabrics and bling of contemporary pop queens and how the set design mimics Tudor architecture but uses flashing LED lights.  All of the actresses give really fun performances (I think the crowd last night was the loudest I've ever heard at the Eccles) but my favorite was Faye (she was the same actress I saw in Las Vegas and she was also my favorite then) because she is incredibly powerful in "Heart of Stone."  I have been talking this show up to the friends I sit by ever since this season was announced and (luckily) they loved it just as much as I do so I can confidently talk it up here, too!  It runs at the Eccles Theatre through January 24 and tickets may be purchased here.

Note:  I love it so much I will be seeing it again Sunday night with both my sisters, my brother-in-law, and my nephew!

The Beekeeper

Last night I went to an early access IMAX screening of The Beekeeper and I had a lot of fun with it because it is the type of movie that I would have seen with my dad (he would have loved it).  Adam Clay (Jason Statham) practices his hobby of beekeeping and making honey on a farm owned by his neighbor and friend Eloise Parker (Phylicia Rashad).  When Eloise commits suicide, Clay discovers that she was the victim of a sophisticated phishing scam perpetrated by a vast criminal organization.  He vows revenge and, as Eloise's daughter FBI agent Verona Parker (Emmy Raver-Lampman) and her partner Matt Wiley (Bobby Naderi) investigate in his wake, they learn that Clay is a retired operative in a covert organization, known as The Beekeepers, with vast resources and no oversight.  When Clay's brutal quest for vengeance leads to Derek Danforth (Josh Hutcherson), a seemingly untouchable CEO protected by the former director of the CIA Wallace Westwyld (Jeremy Irons), he is forced into an epic showdown.  Statham (doing what he does best) executes thrilling fight choreography featuring single-handed combat against highly trained FBI agents, Navy SEALs, hired mercenaries, and secret service agents (sometimes all at once) with almost no dialogue other than a few witty quips (the bee analogy is a bit belabored but I have to admit that I laughed out loud at one reference).  The plot does descend into the ridiculous at times but Irons, who provides most of the exposition, plays it straight so I was completely riveted and Hutcherson is a lot of fun as the villain.  The action set pieces are completely over the top, especially an extended fight sequence in a long mirrored hallway, and they had my audience cheering out loud!  This was exactly what I was expecting and I thoroughly enjoyed it (I just wish I could have watched it with my dad).

The Color Purple

I really enjoyed the Broadway touring production of The Color Purple several years ago so I was excited to finally have the chance to see the movie adaptation of the musical last night.  It was my first movie of 2024 and I certainly picked a good one because I loved it!  Celie (Phylicia Pearl Mpasi), a young Black girl living in the rural South in the early 1900s, has already had her two children by her abusive father Alfonso (Deon Cole) taken away from her when she is forced to marry an older man known only to her as Mister (Colman Domingo).  He beats her and forces her to cook, clean, and take care of his three children but, worse than that, he separates her from her beloved sister Nettie (Halle Bailey) and hides all of Nettie's letters to her.  After several years of this treatment, Celie (Fantasia Barrino) has had her spirit completely broken but Sofia (Danielle Brooks), the wife of Mister's son Harpo (Corey Hawkins), teaches her that she can stand up for herself and Shug Avery (Taraji P. Henson), a blues singer who was once Mister's lover, teaches her to love herself.  These relationships eventually help Celie find the strength to stand up to Mister which also helps Sofia find her voice again and helps Shug reconcile with her father.  The importance of female friendships in overcoming adversity and finding the beauty in life when it seems so bleak are incredibly powerful themes and the performances, especially by Barrino and Brooks, are amazing.  I also really enjoyed the music, particularly "Keep It Movin'" by young Celie and young Nettie, "Hell No!" by Sofia, and "I'm Here" by Celie, and I loved the staging of the musical numbers (many have called it too theatrical because the choreography seems to be happening on stage but this really worked for me).  As much as I loved this movie, the pacing sometimes suffers because it tries to incorporate elements from both the stage musical and the novel by Alice Walker which means that some of the milestones in Celie's life happen very quickly before the audience has a chance to experience the emotional impact (especially in the first act).  Even so, it still feels too long.  Aside from these pacing issues, the themes, the music, and the performances make this adaptation worth seeing and I highly recommend it.