-
What fun fools these mortals be at ‘A Midsummer Night’s Dream’ at The Empress (Review)
I’ve said it before but I wish more community theaters would consider putting on plays rather than musicals. They are such a great way to train up new talent, build confidence and there’s less room for error when it comes to audiences. While companies can do plays from any era it is also entertaining to see different interpretations on plays within the public domain- Shakespeare being the most popular playwright even to this day. A great example of an entertaining take on Shakespeare is currently showing at The Empress with their Appalachian themed A Midsummer Night’s Dream. I was lucky enough to attend on their Dolly Parton tribute night but any night is worthy of your time and patronage.
Also thanks to the good folks at the Empress for printing me a program. It really helps me a lot to enjoy the experience more There’s a reason why Midsummer is Shakespeare’s most produced play (It actually was the most produced straight play period by high schools in 2025-2026!) because its play-within-a-play structure allows for a lot of creativity and adaptation. A company can really make it their own which is harder to do with some of Shakespeare’s other works. Like I said, at The Empress they have an Appalachian theme but they are also working in dance any way they can. Director Dallyn Steenerson and choreographer Stormy Hintz even start out the evening with an extended dance of the fairies setting the tone for what we will experience.
We then alternate between the Mechanicals and their ridiculous theatrical antics and the 4 Athenian lovers who are played tricks on. If anything Puck and his fairy teams are a bit more understated than I’ve sometimes seen (I always feel sad when I see Puck because of stupid Dead Poets Society which is stupid but true.) The lighting design by Chris Peck adds a lot to the story with starlight covering the stage on multiple occasions. It creates the magic you need for these wonderous events.
I’ve always felt the events with the Mechanicals is where Midsummer loses me. It’s like Shakespeare only had enough story for a one act so he puffed it out with all of the meaningless antics of this acting troupe. However, Biz Sharp as the leader Bottom is very funny and brings a lot of energy to the part. She makes those scenes enchanting and fun to watch.
That said, my favorite cast of the night was the youthful energy of the 4 Athenians- Kami McDonough as Hermia, Tanner Larsen as Lysander (who is such an underrated local talent,) Jezory Munoz as Helena and Braxton Moore as Demetrius. They all conquered the Shakespearean dialogue very well and have great chemistry as a cast.
I do wish Steenerson had involved the Appalachian theme more. I think some accents might have been nice and in the final 2 acts of the Mechanicals performance we could have had more of a folksy feel. Particularly for Dolly night it might have been nice to play one of her song choruses during that section. I also am not sure why they had me seated where they did because I really couldn’t see much of what was going on on the top of the platform because of the angle I was at and the large ladder blocking my view. I am, however, happy they had a sold out show so can’t complain much. I do also wish they could have made the greenery over the entire back wall just to make it more immersive but I understand that is probably a budgetary item.
Sitll, I enjoyed my night in the fairy forest with A Midsummer Night’s Dream at The Empress. I hope they have a good response and are encouraged to keep doing more plays like this. It is playing through Sept 12th and tickets can be purchased here. (Also don’t be afraid of it being in Magna. It’s just a hop up from the SLC airport. Not far)
A Midsummer Night’s Dream is the 12th play written by William Shakespeare. He wrote it sometime around 1595 in between Richard II and King John. The events of the play revolve around Greek mythology and the marriage between Theseus and Hippolyta. It is still incredibly popular to this day. It along with The Tempest are Shakespeare’s most fantastical stories.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
Enter the club, witness a legend at Lady Day… at The Grand (Review)
I would never consider myself a jazz aficionado but I am familiar with the work of legendary singer Billie Holiday. She lived from 1915 to 1959 when she passed away at the age of 44. The musical Lady Day at Emerson’s Bar and Grill takes us into one of the singer’s last performances and the good folks at The Grand have fashioned this musical into a truly immersive night of theatre.
First of all, director Toni Byrd has taken the back of the stage at The Grand and made a small black box environment I’ve only seen one other time at The Grand when I saw Assassins there years ago. As the name would suggest usually The Grand is a large booming space so it was a refreshing surprise to have such an intimate environment, and I hope they do this type of space more often. With this production they try and make the Emerson Bar and Grill club Holiday is performing on down to the marque outside the entrance. There are also tables where some got drinks adding to the club atmosphere (I lost my program but will cite the scenic designer as soon as I can find it. My apologies.)
Even though the material can be quite sad as Holiday is inebriated and sharing some tragic experiences, I actually think Lady Day would make for a good date night show. It’s short and the songs are mostly sultry and romantic. Could easily see the musical and then go to a nice dinner after. It’d be fantastic!
Of course, the atmosphere can only get you so far. The performance has to work for a small basically one-singer show to be successful and fortunately The Grand has scored with one of the best performances in Utah of the year by Noelani Brown as Holiday. Myles Anthony Mann plays her accompanist Jimmy Powers and he is great on the piano but it is Brown that shines in this challenging role. At first I felt she was a little bit too stuck to the microphone. I still think someone like her would have played the crowd a little more. However, she’s also clearly intoxicated and knowing that she died not far after it starts to make sense. We certainly see her spiral as the musical commences (it’s easy to see why Audra McDonald won her 6th Tony Award for this role. I’m sure that was incredible to see but Brown holds her own at The Grand.)
There is no intermission to Lady Day which helps us stay in the moment as Holiday unravels throughout the night while still singing some of her classics. The highlights are “Strange Fruit,” “What a Little Moonlight Can Do” and “God Bless the Child.” It’s too bad we couldn’t have a had a little jazz trio along with the pianist but maybe that would have taken away from the intimate feeling they are going for.
Still Brown gives such an emotionally true portrayal of a jazz legend at the end of her ropes that it quicky becomes one of the highlights of the Utah theatre year. I also really appreciate that The Grand is always pushing audiences with a variety of shows, many including this one that I have never seen live before. It is playing at until Sept 26th and tickets can be purchased here.
Lady Day at Emerson’s Bar and Grill is written by Lanie Robertson. It is based on the experience of creators watching Billie Holiday performing at Emerson’s Ball and Grill in Philadelphia. It first premiered in Atlanta in 1986 and Off-Broadway also in 1986. It premiered on Broadway in 2014 winning Audra McDonald her 6th Tony Award. Even though it has lots of songs it was actually considered a play with music and so she won the Tony for Best Actress in a Play.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
Frozen in Payson is a sweet community event (Review)
I’m pretty sure this year I could see the musical adaptation of Frozen every week if I wanted to. It is definitely this year’s hot show along with Come From Away. Luckily I am a critic that doesn’t mind seeing a show a bunch of times and I try my best to look at something as a stand alone show and not compare it to other productions. The latest staging of Frozen is down at Payson Community Theater. They almost always do a great job in Payson in creating a lively and comforting community event and this was no exception.
Performances at PCT take place at the new Payson High School and this musical is truly a family affair. It is directed by Colleen Carrasco with daughter Kenna Carrasco playing Elsa and husband Michael Carrasco on set design. There are other family connections mentioned in the program and that family spirit permeates through the whole production. This adds a lot to Frozen as a property because it is at its core about sisterhood and family being the strongest form of love.
Carrasco does a good job as Elsa and has the singing chops for the demanding role. Brynn Hartley has all the bubbly energy you want for Anna and the 2 have good chemistry together for songs like “For Time in Forever (Reprise).” I also enjoyed Isaac Major as Kristoff and Nick Chisenhall as Sven (the Sven costume was extremely well done.)
The costumes by Brooke Holahan in general are one of the highlight of the production. The beautiful embroidery and painted details did not go unnoticed by this critic. Especially with such a massive ensemble the attention to detail is extremely impressive. My only critique was that some of Anna’s clothes didn’t appear to fit her properly with her straps falling down or clothes hanging down. Still, they the dresses for scenes like the coronation crowd scene are very impressive.
Another favorite handmade element is the Michael Carrasco creates for the sets. My favorite was the back panels made to look like a Norwegian home with hand painted flowers and other designs. Also the set for Oaken’s lodge looked of a professional quality.
I attended Frozen at PCT on Monday 8/31 and it did seem like one of those days of community theater where lots was going wrong. Everything from the microphones malfunctioning to the smog machine going crazy (I have never seen so much smog! I was in the front row but still,) to other problems. This happens sometimes with community theater but they pushed forward, making it all part of the charm.
It is becoming increasingly difficult to tell whether a company is using AI or computer graphics these days but I did suspect that some of the projections used throughout were made in AI. Particularly one projecting a beach for “In Summer.” Whether it was or not I found the projections to be a poor contrast to the handmade elements and immersion they create throughout. It took me out of the moment to see an artificial projection and would have preferred a blue sparkly background or other simple color.
Still, this production of Frozen at Payson Community Theater is a wonderful community event that is giving a huge cast a positive experience together. If you like the movie you’ll enjoy this staging and want to sing along (I believe they even have sing along nights) with the talented cast. It is playing through Sept 7th and tickets can be purchased here.
Frozen: the Musical has music and lyrics by Kristen Anderson-Lopez and Robert Lopez with a book by Jennifer Lee. It is based on the 2012 animated classic and first premiered on Broadway in 2018.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
Curtains brings the mystery and fun to Heritage (Review)
Everyone knows I love a genre specific musical. For example, some of my favorite recent musicals have been in the horror genre such as Evil Dead: The Musical and Heathers. I also love comedies, mysteries and of course romances. However, I also enjoy musicals that can manage to be mashups of several genres. This keeps me guessing as an audience member and can be a lot of fun to watch. Such is the case with the musical Curtains, which I finally got a chance to see at Heritage Theater this weekend. I love Heritage, and this is another charming night of community theater from them.
The story of Curtains is ostensibly a murder mystery but it becomes more than that because all the crime and detective work occurs behind the scenes of a Broadway musical being put on in Boston. The musical in question is called Robbin’ Hood of the Old West and this gives an old fashioned quality to any of the songs that are part of the show within a show such as “Wide Open Spaces,” “Thataway,” and “In the Same Boat” (the latter which we hear 4 different times throughout the show.) Then we have the songs about the crimes and investigation like “He Did It,” and “The Man is Dead.” Finally we have the songs about the company members themselves such as “Show People” and “It’s a Business.” One of my favorites is “I Miss the Music” sung by the show composer Aaron who misses writing with his wife Georgia.
As you can see Curtains has a lot going on so director Lindy Combe wisely keeps the production as simple as possible. I love that Heritage still uses all handmade where so many companies their size are using projections and AI. I also like that they use the entire space into the audience to help tell the story. I could have used even more of that to be honest. My favorite setpiece (set designer Jess Tarbet) was probably the old west saloon backdrop for “Thataway.” This uniquely captures not just a saloon but a saloon in a Broadway musical like Annie Get Your Gun.
In some ways this musical is ideal for community theaters because it gives so much for both the ensemble and individual soloists to do. The cast at Heritage is led by Spot Beecher as Lt Frank Cioffi and he’s a lot of fun in the role. Other standouts are Ali Arbuckle as Carmen Bernstein and R Henry Bennett IV as the snooty British director Christopher Belling. The nice thing about a show like Curtains is most of the songs are within the grasp of an amateur company and they sing them well here.
I’m not sure what the folks at Heritage could have done because the transitions were pretty fast but the show did feel long. That said, I was also at the end of a 2 day, 5 show, marathon event with my friend Jacks in town, so fatigue in Act 2 may be more on me than them. There are times when the backtrack felt a little loud and overpowered the singers and like I said, they could have come out into the audience even more. In the end, however, I found Curtains to be a charming night of community theater. I’m grateful to Heritage for helping me check this show off of my bucket list. It is playing through September 12th and tickets can be purchased here.
Curtains is a musical with music by John Kander (who also wrote Chicago and Cabaret) and lyrics by Kander, Fred Ebb and Rupert Holmes. Holmes wrote the book based on the original book and concept by playwright Peter Stone. It first premiered on Broadway in 2007 and on the West End in 2019. David Hyde Pierce infamously won the Best Actor Tony for Curtains over Raul Esparza which I will never forgive the Tonys for…
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
‘Pride and Prejudice’ manages to feel fresh and new at The Ruth (Review)
One might call it a universal truth that I will always be excited about a production of Pride and Prejudice. I absolutely love the novel by Jane Austen and the stage adaptation by Melissa Leilani Larson is perfect (I also love all of the film adaptations. Yes all) That said, I did feel a little bit cynical when I saw The Ruth was putting it on again after just doing it in 2023. It felt a little bit like a cash grab when they could do something new and fresh (even from Austen); however, my cynicism was ill-founded and unwarranted. The good folks at The Ruth have not only put on a great production of Pride and Prejudice but they’ve found a way to make it feel fresh and new.
Believe it or not I have actually seen this production twice now because my friend Jacks was in town for our epic 5 shows in 2 days theater trip. I did not, however, see both casts. The only difference in my Saturday and Thursday casts is we saw the understudy for Darcy played by Dustin Parmley. I hope to be able to see the MWF cast eventually but 2 times in one week is certainly plenty even for this Jane Austen fangirl.
One of my favorite parts of The Ruth is their commitment to diversity and inclusion. Not only are they doing shows like Once on this Island and Ragtime but they are thinking outside the box for shows like Pride and Prejudice. For example, in the role of Mrs. Bennet, a character who is usually loud and overbearing, they cast a deaf actress Anne Post Fife. Director Kymberly Mellen has integrated sign language and characters sharing the lines of Mrs. Bennett; thereby, giving her a voice she might otherwise have. You also get to see the expression of the characters as they are reciting the lines of their mother.
My favorite part of this adaptation of Pride and Prejudice is how it gives voice to some of the scenes and characters that Austen leaves ambiguous. This is mostly done through letter writing but I love seeing, for example, what Darcy writes his sister while Caroline Bingley and Lizzie are taking a turn about the room. Another great scene I love is when Jane and Bingley are both writing letters to each other and then throwing them out because they are so miserable for each other.
Of course, we all know the key to a successful Jane Austen adaptation is the 2 leads and their chemistry. Like I said, one night I had the Darcy understudy, and he is excellent but the main single-cast actor for Darcy is James Carter who I had previously seen in the role at Centerpoint Legacy last year. He captures beautifully the shy yet brooding charm which has become the most popular way to portray Darcy of late. He also has great chemistry with Lauren Pope who is our Lizzie. She is an actress that captures the emotion of scenes in an authentic genuine way. When she gets the news of Lydia, for example, it feels like she is truly weeping.
The rest of the cast is strong with Sydney Claire Olson standing out as a single cast Lydia and Parley Lambert as Wickham. Kim Abunuwara also practically steals the show as Lady Catherine de Bourgh. I particularly like she decides to sing terribly with Lizzie at the piano. It makes sense a woman like herself would think she’s a great singer even though she clearly is not.
I do think the play felt a little longer for some reason than other times I’ve seen this adaptation. It is nearly 3 hours at The Ruth which is a long sit even for this huge Austen reader. Also, while I applaud the integration of a hearing impaired actor as Mrs. Bennet it did lead to some confusion. I was never entirely sure if this is an accommodation for the actor to participate or is the character meant to be deaf.
The reason it is unclear is there are long stretches such as her long conversation with Mr Collins where he doesn’t sign and then other times when she is dubbed by the other actors. Also Darcy still overhears Mrs. Bennet talking and gossiping which would be harder to do with the signing. I believe the Mrs. Bennet character is the same as in the story portrayed by a deaf actor, not that the character is deaf but if any of the readers have seen it I’d love your read on the character. Also I may be unclear on this but doesn’t it seem odd to not have an ASL interpreter at all of the shows when you have deaf castmembers? I would think the likelihood of deaf family and friends would be much higher for something like this so a signer might have been nice.
Regardless I appreciate The Ruth trying something new and fresh for this story. Austen fans will adore it like I did. The costumes are outstanding by Brenda Van Der Wiel with hair and makeup by Shannon Hutchins. Pride and Prejudice is playing through November 7th but it’s selling out so don’t miss your chance to see it buy purchasing tickets here. It’s a romantic, heartfelt, and classic night of community theater for sure!
Pride and Prejudice is adapted by Melissa Leilani Larson based on the classic novel by Jane Austen. This was commissioned by Brigham Young University in 2013 and first produced in 2014.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
Go to the ‘Water for Elephants’ national tour for the circus more than the musical (Review)
One tricky part of being a theatre critic is not all musicals and plays offer the same types of entertainment. Some we go to for the story, others the great music, some the choreography and spectacle, as well as many other elements that can make a show special. I might say a show is great and someone else see’s it says ‘but the story was so trite’ but my praise had little to do with the story it was the spectacular dancing or singing. You get the idea. With the national tour of Water for Elephants what makes it special is the circus performers and acrobatics. The story and music is less memorable. I still enjoyed it because I’m a sucker for dance and acrobatics but your mileage may vary.
I should clarify upfront that I have not seen the movie or read the book Water for Elephants is adapted from so I can’t speak to its authenticity in that regard. The story is pretty thin gruel to go off of with hunky kind-of-vet Jacob meeting star circus performer Marlena in the 1930s. They hit it off immediately. The only problem is Marlena’s husband is the ringmaster of the circus, August. One of my least favorite plot contrivances is the ‘let’s justify an affair because the spouse is a jerk.’ Nope. It just doesn’t make me swoon when people are cheating even if they are cheating on a jerk. So that aspect of the plot was not going to work for me.
They also have an older version of Jacob (referred to as Mr Jankowski in the program) kind of narrating the story and that felt very poorly integrated and random. It wasn’t as bad as the old Neil Diamond at the psychiatrist element of the recent musical Beautiful Noise but it felt very out of place. I also didn’t love the way they integrated the animals into Water for Elephants. Some animals like the monkeys are played by humans in costumes but then others are puppets with the elephant being introduced in pieces. Sometimes we’d get a trunk, other times ears. When we finally get the big reveal of the elephant I was left thinking ‘why didn’t we have this whole time?’
Anyway, the entertaining part of the show is the circus performers. Particularly all the aerialists are some of the best I’ve ever seen. Yves Artieres plays a horse and that might sound strange but it was one of the more beautiful dance performances I’ve ever seen. He manages to capture the majesty of this animal perfectly and what he does with the silks is unbelievable. I also really enjoyed Tyler West as Walter the little person clown and all the rest of the ensemble of dancers and performers. They really make the show a delight to watch and the dancing is no small aspect. It’s a huge part of the show.
The songs are pleasant to listen to but not especially memorable. The highlights are probably Jacob singing “Silver Stars” and the company with “The Road Don’t Make You Young.” In the national tour Jacob is played by Zachary Keller with leading man charisma but he doesn’t have much chemistry with Helen Krushinksi’s Marlena but I can’t really blame them because the story makes it tough for them to develop that chemistry (I just don’t love cheater love stories!) Connor Sullivan is appropriately sinister and sniveling as ringmaster August.
The tour is directed by Ryan Emmons with Jessica Stone the original Broadway direction. The circus design is Shana Carroll and the choreography by Jesse Robb and Shanna Carroll. There is some beautiful lighting by Bradley King and the sound design by Walter Trarbach help the animals feel as real as they can especially when we are only getting a piece of said animal.
But when it comes down to it, Water for Elephants is all about the circus. Of course one could just go to a circus performance (we had Cirque du Soleil in Salt Lake this holiday season with Twas the Night Before and I’d say these performers were as good if not better.) If aerialists and dancers appeal to you than go see Water for Elephants. If you need more than that you can probably skip this show at the Eccles. It is playing through August 30th and tickets can be purchased here.
Water for Elephants is a musical with music and lyrics by PigPen Theatre Co which is a indie folk band and theater company consisting of 7 musicians. They have been performing together since 2007. The musical book is by Rick Elice based on the novel by Sara Gruen. It premiered on Broadway in 2024.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
I might make a habit of seeing ‘Nunsense’ at Springville Playhouse (Review)
As much as I love seeing my favorite shows on repeat I also love checking shows off of my blind spot list that I’ve long wanted to see but never had the chance. Such was my opportunity this weekend with Springville Playhouse’s wonderful new production of Nunsense. Oddly enough I’ve seen the sequel to Nunsense entitled Nuncrackers but never the original musical. Now I’m so glad I have as this is a very funny little musical well performed by Springville Playhouse.
The concept for the musical actually sounds quite grim. The nuns lost 52 of their numbers in a horrible accidental poisoning mistake. Now the Reverend Mother Mary Regina played by Robinne Booth is leading the remaining women to put on a talent show to fundraise for the burial of the remaining 4 women. Again this sounds quite morbid but the musical is in reality very funny. I guess you might call it a dark comedy but it’s mostly just a funny good time.
The production is directed by Michael Roberts and Julia Allen and they have created a very intimate space with only a couple of rows on each side of the stage (it’s basically a black box space.) The nun’s school is putting on Grease so the main backdrop looks like a high school production of Grease. It’s delightfully random. I also appreciate the performers are close enough to the audience that no microphones are needed. There were a few times the music drowned them out a little bit without microphones, but I loved the intimate feel the production has. I also enjoyed how the actors would peak out over the top of the set as if they were watching the performance right along with us. It feels authentic, which I appreciate.
My favorite of all the characters is Mary Amnesia played by Amber Roberts. She is a nun who, as the name would suggest, has forgotten who she is or what her real name is. Roberts has terrific comedic timing for the character and plays the dumb blonde in some very funny scenes. I really loved her songs “So You Want to be a Nun?” and ” I Could’ve Gone to Nashville.” I also really enjoyed Andrea Wardle as Sister Mary Robert Anne. She is given the most banter with Boothe, and they pull it off very effectively.
All that said a show like Nunsense is all about the laughs and fortunately the show is funny. It is honestly funnier than I expected- never feeling like it is putting down the characters or their religion which I appreciate. It makes for an endearing and sweet performance that I’m so glad I got to take part in. There are some adult jokes but nothing too bad. I think you could bring kids to this and they’d have a good laugh. Nunsense is playing at Springville Playhouse until Sept 5th and tickets can be purchased here.
Nunsense has music, lyrics and book by Dan Goggin. It premiered Off-Broadway in 1985 and it has spawned 6 sequels including 3 spinoffs.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
Hunchback officially takes Terrace Plaza to the next level of local theatre (Review)
If you follow my theatre criticism you have heard me use the term “learning company.” This is the moniker I give to community theaters that are more places for education than anything else and they often wear their amateur status on their sleeve. I always say there has to be one place where people can try out the theater without needing an MFA here in Utah. For a long time I would have definitely included Beverley’s Terrace Plaza Playhouse in that learning company group. I’m not even saying there’s anything wrong with that. It’s just what it was for a long time. But this is why you always give companies new opportunities because over the last year I’ve seen a real change at Terrace Plaza. It started with Urinetown, then Freaky Friday was solid and this week their production of Disney’s Hunchback of Notre Dame is so good it may bump them out of the learning company group all together.
In fact, I have a friend who had not the best experience with one of Terrace Plaza’s shows, and I messaged her after seeing this and told her she’d like it. I wouldn’t have done that if I wasn’t confident she’d have a very different experience with this production.
Last year when West Valley Arts did Hunchback I discovered I am a bigger fan of this show in general than a lot of my friends. I admit I do give it a certain amount of credit because it is one of the only of these Disney shows that actually improves upon the animated film it is based on. Most of them are major downgrade especially Mary Poppins and The Little Mermaid. I love how they balanced the tone better than the animated film (getting rid of “A Guy Like You” and adding the Saint Aphrodisius element are such smart upgrades) but they also develop the character motivations much better particularly for Count Frollo.
At Terrace Plaza director and choreographer Aaron Ford has taken this strong material and gathered a group of actors and technicians capable of pulling off the moving story. Quasimodo played by Cameron Ropp is a little smaller than I sometimes see the character but he is very sweet and endearing. Olivia Lusk-Garibay is captivating as Esmeralda. I especially love the red outfit they give her so that when Frollo sings “Hellfire” she literally looks like fire as she dances. That was a brilliant choice by costume designer Jacci Olsen Florence. Speaking of Frollo he is played by Joshua Elden Egbert who is always excellent and he continues that streak here. He is so commanding in the role that the lady sitting next to me whispered “he’s such a creep!” Of course Josh is no creep in real life but that’s how immersive the performance is.
Sometimes Terrace Plaza can underuse the top parts of their stage (that was a critique for Freaky Friday) but for Hunchback they used those areas a lot. The bells looked very real and they used the trapdoor by the bells basically turning the right part of the stage and that platform into Quasimodo’s tower. I also really liked the stained glass lighting feature they had which changed colors for different scenes (lighting designer Melissa Trenery.) This is a nice break from the projections they have been using lately. I don’t mind a projection but will almost always prefer handmade sets if possible.
One of my favorite aspects of this production is the ensemble work- particularly the choral music throughout. The choreography is also very well executed with a massive cast with dozens of actors all dancing together on the stage for numbers like “Topsy Turvy.” I really enjoyed Dre Hay as Clopin, who can be a confusing character because he is joyous but also judgmental and even harsh but Hay finds the right energy to sell the character. Ricky Dowse has a nerdy energy that works quite well for Captain Phoebus and they all have excellent singing voices.
One point I have been critical of some Hunchback productions in the past is when they overplay the afterlife sequence at the end. While it makes sense for Quasimodo to lose his hunch in the after life it can be handled in a cringeworthy way. Not so here. I like that it is just a quick moment, almost like removing a coat, and the focus is quickly on his reunification with Esmeralda and his father. I also like how they handle the ending with the molten ore actually visualizing it with fabric coming out of the caldron. They really think of everything for this production.
There were a few problems particularly with the microphones and sound mix that can be worked on (I saw opening night) but nothing major. I enjoyed this so much I’d consider seeing the MWF cast if I can get up there (it’s an hour from my house.) Recently we had the unfortunate news of OPPA closing up in Layton so we need to support these Northern Utah theatre companies especially when they are putting out such high quality shows as this Hunchback at Terrace Plaza. It’s a must see in Weber County and is playing until 9/29 and tickets can be purchased here. (I had someone ask me about the seats and they are not the most comfortable but they do have cushions available for free which can help.)
The Hunchback of Notre Dame is based on the 1996 Disney animated film with music by Alan Menken and lyrics by Stephen Schwartz. The film is of course based on the novel by Victor Hugo. The book for the musical is from James Lapine and Peter Parnell. It has not been on Broadway but it did recently have a popular concert version in the West End in London. In my opinion it’s one of the only Disney Broadway musicals that actually improves upon the animated films.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
It’s elementary to enjoy Moriarty at Hale (Review)
Growing up my Dad was a big fan of Sherlock Holmes as a character and particularly the BBC Granada series starring Jeremy Brett (if you haven’t seen it it’s fantastic and available to watch on amazon prime) I also am a big fan of The Great Mouse Detective from Disney and the first season of Sherlock as well as other iterations of the character. For these reasons I’ve been highly looking forward to Hale Center Theatre’s latest production of Moriarty (yes I’m aware the official title is Ken Ludwig’s Moriarty but I’m not writing that every time. Sorry Mr Ludwig.) Fortunately for this Holmes-head it did not disappoint.
The biggest standout to this production is the incredible set (set designer Jenn Taylor & Madeline Ashton) that transforms before our eyes with ease. The main set has exaggerated panels that can be folded in and flipped over to use both sides to create different rooms. They even at one point turn the stage into the Reichenbach Falls which are iconic in the Holmes stories. The set almost has a literary quality as if when they flip the panels over it is turning a page in the classic novels (I especially loved a boat that flips around to become a carriage. Ingenious!) This is mainly an adaptation of A Scandal in Bohemia mixed with The Final Problem and a few others added for fun. With this combination the play combines a lot of action and memorable characters like Irene Adler and the villainous Professor Moriarty (as the title of the play implies.)
Director Ryan Simmons has gathered a terrific cast that are just over the top enough to be fun without leaning too far into the camp. It never feels silly or like a comedy but it has a playful energy to it. Adam Packard is endearing as Sherlock and he banters well with Morgan Gunter as his sidekick Dr Watson. Packard also has delightful chemistry with Amber Dodge’s Adler. The Concord Theatricals page for this show says it has 5 actors playing 40 roles but here at Hale they have 7. The ensemble includes Bryan Dayley, Claire Kenny, Danny Kenny, and Bryson Smellie. Dayley is particularly impressive with his elaborate costume changes playing 6 roles including Mycroft Holmes, Inspector Lestrade, and Professor Moriarty all with different accents and personas. I saw him playing the D’Ysquith family in A Gentleman’s Guide to Love and Murder years ago. He’s incredible at playing different roles in the same show.
Even though the program says it is 2 hours I was in my car recording my reaction by 8:30 so it is under 90 minutes. While sometimes I feel cheated by a show with a brief runtime I didn’t mind it here. Where something like Six feels like I’m only getting half a show here it is full experience and nothing feels truncated or not fleshed out enough. Ken Ludwig knows how to put together a crowd-pleasing show and that’s what he does here. I think this is a lot better than his other take on Sherlock Holmes called The Game’s Afoot which is too meta for its own good (I felt cheated out of a Sherlock story with that one.)
The rest of the technical team behind Moriarty at Hale are first rate with costumes that can handle quick changes by Joy Zhu, lighting by Marianne Ohran, and sound by Kristin Tenney to name a few (by the way I love how many women are working on this production at Hale.) Because there is a little bit of romance along with the mystery and adventure Moriarty is also a play that should appeal to both men and women equally making it a great choice for date night.
Because I love musicals so much it might be a surprise to hear that of the 3 shows currently at Hale Ken Ludwig’s Moriarty is my favorite (My reviews for Our Town and Joseph.) It’s a super fun night at the theater that you and your family will love. While it is playing through November 14th I’d get your tickets now as it is sure to sell out. Tickets can be purchased here.
Ken Ludwig’s Moriarty is written by of course Ken Ludwig based on the classic detective short stories by Sir Arthur Conan Doyle. It first premiered at the Cleveland Playhouse in 2023.
I need your help! If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
‘John Henry vs the Robot’ is as original as it sounds at Great Hall Theatrics (Review)
While I am not the most experimental of theatergoers I do enjoy seeing new original productions especially ones from local talent that I can hopefully nurture and support. Such is the opportunity at Great Hall Theatrics with their new original musical John Henry vs The Robot. While this production is not perfect it won me over with its creativity and heart.
The idea behind this comedy is quite clever. In practically a one-man show by Stephen Gashler (he is responsible for book, music, lyrics, producing, directing, and much more) he takes the classic folk hero John Henry and transports him to modern times where he confronts a Mach 21 robot a family has recently adopted. This is a smart take on the folktale because John Henry’s entire story is a tragic confrontation with steam powered machinery. He also creates an appealing counter-balance to the seemingly perfect robot character.
I know people think something has to be a musical to succeed, but I do think this story might have worked better as a straight play. The music didn’t add much to the overall message and without it we could have used the time to dive more into the themes and potentially problematic elements of an 1840s John Henry confronting a modern 2026. In this production John Henry is played by Dorsey Williams and he completely looks the part of the mythical figure. I also appreciate how physical a performance he gives. Several times he is thrown to the stage, which makes him seem all the more commanding when he rises back up to confront the robot.
Tiffany Davis plays Polly, the single Mom who takes John Henry in when her son Bobby finds him by the train tracks. Christopher Doubleday gives my favorite performance as the robot Mach 21. He is funny and gets that synthetic robot voice just right (also does a good Sean Connery imitation!) I also appreciate they kept the robot pretty likable. There really isn’t a villain in this piece.
A good comparison as far as the plot of this show would be the Thor movies over at Marvel. Basically there you have a character of mythological strength confronting modern culture and falling in love. They even both have hammers. Davis has the best singing voice of the cast and gets the best song of the night with “Multidimensional Mom” and “Against the Currents of Time.” Some of the other singing was not the strongest, but I’m inclined to be forgiving for a piece with so much originality.
The set is effective with 2 stories and a painted forest background that allows them to go from the different timelines without any scene changes. Most of the costumes fit the roles quite well except for a suitcoat they give John for his date with Polly that was so oversized I’m thinking it was intentional although the purpose behind that choice was lost on me. It was also quite warm in the Angelus Theatre making the experience more taxing than it might have otherwise been. The spotlight also seemed to wander across the stage and was a little messy.
I also think it is a bit of a mistake to have John Henry confront modern times and not address the race issue at all. I get this is a family comedy but a man like him would have all kinds of emotions and feelings especially when it comes to courting a white woman like Polly. I am sure it’s challenging writing about these themes but it feels disingenuous to not mention them at all.
That said, there is a lot of good here in this quirky little musical at Great Hall Theatrics. I can guarantee you this- you won’t see anything quite like it in Utah this year and there’s something to be said for that. John Henry vs the Robot playing through August 29th and tickets can be purchased here.
John Henry vs the Robot is created by Stephen Gashler and it is based on the classic folktale of John Henry which originated in the 1840s. He was known as the “steel-driving man” who confronts a steel drill and is driven to exhaustion. The actual man the legend was based on was born in 1848, and he did not actually die of exhaustion like the myth would have us believe. For more information on John Henry click here.
I need your help! If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
Rachel Reviews Theatre 