Last year I attended You’re a Good Man Charlie Brown at the Covey Center for the Arts and it had a unique twist to it. It was called the ‘Silver Haired Edition’ and featured the Peanuts Gang as played by senior citizens. I went it expecting a gimmick and was surprisingly moved by the layer older actors had on material meant to be portraying children. I then saw Charlie Brown again silver haired at Murray Arts just a few months ago. While I do think Charlie’s worries about life make it uniquely situated for this concept I was curious to see if older casting added layers to other stories. This made me delighted when I saw The Empress was going silver haired for their production of Disney’s Descendants. I had also never seen this musical although I have seen the DCOMs that it is inspired from. Now I have seen it and it may not be as philosophically rich as Charlie Brown it is still a lot of fun and it’s refreshing to see people playing roles they wouldn’t normally be cast in.

One of the aspects that makes it harder to stage this musical with senior citizens is Descendants has a much bigger cast than Charlie Brown. In fact, I do wish in the adaptation they had streamlined it a little more because some characters like Jafar and Cruella are given very little to do. This probably makes sense for the typical high school production when you need to cast as many kids as possible but for community theatre it’s a lot of effort for small roles. In fact, they had to increase the age limit to 45 during the auditions in order to cast the production. This was funny to me because I could have auditioned. It’s the first time I’ve ever qualified for anything dubbed ‘senior.’ That’s a sobering moment!

If you haven’t’ seen the DCOM the story for this musical is the world of Disney all the villainous characters have been isolated to a exile island that they cannot leave. This includes the children of the villains who come to the attention of young Prince Ben who is the son of Belle and Beast. As he is about to be coronated he decides to welcome the teenage children of the villains to Auradon Prep and this includes Maleficent’s daughter Mal and Evil Queen’s daughter Evie (they weren’t very clever with those names!)

As would be appropriate for a DCOM the music is very pop-forward and bubbly but enjoyable. The only exception is “Evil Like Me” that feels plucked out of a Broadway musical and was sung by Kristen Chenoweth in the film. This is the highlight of the musical and Crystal Ahlemann owns this song as Maleficent. It made me wish all the adult villain characters had songs like that but I felt that way about the DCOM but then I’m 45 and not the teenager the movie/show was made for. Of course the teens are going to be the focus in a DCOM but you do trade campy fun for sweet sincerity.

That said Diana Sorensen, Amy Hallett and James Hutchings have a lot of fun as our leads Mal, Evie and Carlos respectively. They have a nice chemistry together as a cast and are enjoying getting to be rebel teens all over again. The production is directed by Adam Cannon and he did a good job using all of The Empress’ unique space including the stairways and platform above the stage. I also enjoyed the graffiti artwork created on the walls by Celeste Reece.

Some of the fun songs audience members will recognize from the DCOM like “Chillin Like a Villain” and “Ways to be Wicked” are amplified by bubbly choreography from Jords Shami. They are also helped by costumes designed by Candice Jorgensen and colorful wigs by Cheryl Cripps Richardson. It almost feels like the actors are going to keep wearing their brightly colored hair they look so at home with them on.

While I do think the story of Disney’s Descendants is probably better suited for a Jr length it’s still a bright energetic time at The Empress and a neat experience to see actors getting in touch with their teenage angst all over again. It is playing through May 23rd with a sensory friendly performance on May 16th and a sing along performance on May 21st (that would be really fun!) Tickets can be purchased here.

Disney’s Descendants features a book by Nick Blaemire with music adapted by Madeline Smith and orchestrations by Matthew Tisher. It is based on the 2015 Disney Channel Original Movie film with music by David Lawrence and direction by Kenny Ortega.

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. Please take a look here.

Way back when I was in Middle School the attached high school to my school did a production of Once on This Island. Watching this show and Brigadoon were some of the first times community theatre inspired me and I realized great theatre didn’t have to come from only Broadway-level shows. It’s interesting because even though I had this foundational experience with this show I have never had a chance to see it again…until this week. The good folks over at The Ruth are putting on Once on this Island and it wowed me all over again.

There are so many outstanding aspects of this production at The Ruth I almost don’t know where to start in this review. It is directed by Lisa Hall and the scenic design by Carter Thompson is phenomenal. They not only have a sand stage but there is a pool with water and a 2 story plantation-style house that looks like it came right out of Havana, Cuba. The costumes by Candice Nielsen are also stunning with some of them full of bright colors and sequins and others in a striking white. My favorite is the clothes for Papa Ge with skulls to symbolize the God of Death.

I also love choreographer Izzy Arrieta and his work with this cast. It’s a small space and with sand and water the choreography was probably challenging to plan but I felt surrounded by music and dance. I really admire how The Ruth has made dance a priority in its productions and it’s an aspect I have come to look forward to most when seeing one of their shows (and Arrieta is a big reason for that.)

The cast is also incredible for this production. I saw the TThS cast but I’ve heard the other cast is also really good. Ti Moune is played by Sibley Snowden and she has a joyful innocence needed for this exuberant role. She also has a beautiful singing voice and harmonizes well with all of her co-stars. Corey Stefon Johnson is swoony and winning as Daniel and little Heidi Malia Warren steals any scene she is in as Little Girl. There honestly isn’t a weak member of the cast.

I also love the immersive lighting design by Michael Gray and the sound design by Tim Riggs. When there is a storm it feels like a storm is surrounding us and I could be wrong but I feel like there was some aroma work brought in and I could smell coconut and vanilla (maybe I was just so immersed it effected my senses!) Some of my favorite numbers of the night are the opening number “We Dance,” the love song “The Human Heart” and the finale sequence “Why We Tell the Story.” While the story can be quite sad I don’t think there is any reason a family couldn’t come and see this musical and talk about Ti Moune and Daniel and the bigotry that keeps them apart (as well as discuss the many creative aspects of the show.)

Fortunately we have a while to see Once on This Island at The Ruth. I definitely want to see the other cast as soon as possible. Trust me on this one. You’ll be dazzled just like I was. It is playing through July 3rd and tickets can be purchased here.

Once on this Island has music by Stephen Flaherty and lyrics and book by Lynn Ahrens (I saw another production of theirs last week with Lucky Stiff. It is based on the novel My Love, My Love; or the Peasant Girl which is a retelling of The Little Mermaid by Hans Christian Andersen. It first premiered on Broadway in 1990 with an award winning revival in 2017.

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. Please take a look here.

As we all know I see a lot of theatre. It’s an odd week where I don’t see at least 3 shows. Last week I saw 7 shows including 2 days with 2 shows. Given that amount it might surprise you to hear that being an audience member can actually be a bit of a struggle for me. Not only do I have lower back pain and am a larger woman so seats can be uncomfortable, but I am a pretty severe fidgeter and struggle sometimes to maintain focus and keep my movements to a minimum. This is why I’m such a forgiving audience member of other people’s frailties because I know what it’s like to be an imperfect participant. I also think there is a difference between natural expression and unnecessary behaviors like taking a call in the middle of a show- something I did witness in a black box show I went to a few years ago!

I bring all this up because I believe there is a bit of a battle going on in the theatre community that I don’t know how to solve. It’s a civil war you might say. On one side is the highly distractable patron who wants a quiet serene environment to enjoy their shows. Another side wants to be able to get invested into the piece and respond in a socially acceptable way. The problem is what is acceptable is widely debated. To the easily distracted I hear you. That’s why I try so hard to not be bothersome but on the other hand I don’t think every show should be a church where we can’t be involved or engage. It really is a struggle!

@tyvid5

the theatre should be a safe space to emote and sadly that wasn’t the case for me tonight. be kind, it’s so easy to not dim other people’s joy. @SCHMIGADOON!

♬ original sound – tyler conroy

What got me thinking about this again is a tiktok video made by a creator named Tyler Conroy. In the video he shares his experience seeing the new Schmigadoon musical and how fellow audience-members were upset with him over his cheering during applause segments. This wasn’t during the show. It’s not like when I saw Beetlejuice on Broadway and 2 teenage girls sang along the entire show. This was in applause that they were upset with him. Unfortunately it honestly doesn’t surprise me that he had this experience. People critiquing others audience behavior is becoming more of a problem in the world of live theatre. Of course there’s the more outright rudeness but I’ve often seen people complain about other’s laughter (they laugh too loud, have an annoying laugh, they laugh too much or not at the right times,) that they gave a standing ovation or didn’t give a standing ovation, that they thumbed through their programs or made a quick comment to their seat partner etc. You get the idea.

Because of my fidgeting I have a tiny metal fidget spinner that I sometimes have in my hand to help me with my problem. Usually this is fine, but I did have someone lecture me at intermission during the national tour of Hamilton about it and it completely ruined the experience for me. Of course, I put it away but I was embarrassed and honestly couldn’t wait for a show I normally love to be over. It made me hesitant to bring out the spinner again at other shows unless I’m really struggling, which is disappointing for what I thought was a nice solution to difficult problem.

And yet on the same breath you have people getting into fights at Mamma Mia because theatregoers are so rude. I can be sympathetic to the feeling if we give an inch people take a mile. Also when audience-members that are easily distracted have repeated bad experiences it causes them to be on guard and perhaps respond with unkindness to something more benign. Like maybe the lady who lambasted me at Hamilton had been to 3 shows where people had been talking or rude so the movement of my hands was the final trigger? I don’t know but shouldn’t people participating in an artistic creative group experience be above all things patient and kind?

Recently we had the actress Lesley Manville complaining about people taking out their phones during curtain call. While I can be sympathetic to the desire for audiences to stay in the moment a little longer the fact is we don’t get to decide how others absorb art. And we are participating in a group experience so people will manifest said experience differently. Also most of those people are probably trying to help the production with exposure and sharing what part of the show they can with their friends and followers. Obviously if the company specifically asks audiences to not photograph curtain call that’s a different issue but if someone is respectful of the house rules shouldn’t we be as tolerant as possible? Again you don’t get to tell someone else their applause is wrong, their cheering is annoying, their natural expression is too loud etc.

Of course, people who are easily distracted deserve to enjoy theatre too. Maybe a good rule of thumb is if this audience-member was my sister or brother how would I want them to be treated? Is there a kind way to ask for a changed behavior? Is this so offensive it is worth involving ushers or managers? Again, think about how would I want someone I love to be treated and maybe we should treat them that way?

Honestly if it were just up to me I wish we could make live theatre more like a concert. I wish it wasn’t such a stuffy and stifling experience where even in irreverent shows I often feel like I’m at at a library. Even though I don’t drink it was refreshing last year to go to Drunken Shakespeare at a local theatre and relax and just have fun. Evil Dead: The Musical was a revelation for the same reason. That said, I understand it’s not up to me. I have learned over the years what bothers most people, so I try my best to accommodate them and behave in socially acceptable ways. I just wish that others could show me the same forbearance and not trample on my joy of theatre like they did for Tyler at Schmigadoon or me at Hamilton. Is that too much to ask?

Sometimes I think it is and that makes me sad.

What do you think about this? How much should we be policing audience behavior and how do you respond when someone behaves in a way you don’t like? Can we fix this or are we doomed to being miserable in theatre no matter what side you are on? I would love to hear your thoughts in the comments

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. Please take a look here.

As much as I enjoy the classics I also love when I get the chance to see something new (or at least new to me.) It takes guts for a company to try and mount something different and particular courage to do something edgier here in Northern Utah. Such was my enriching experience seeing Lil Poppet’s production of the play Annapurna. While the play has been around since 2013 I had never heard of it before this production and I’m glad to now have it on my radar.

If you also haven’t heard of it this play is a two-hander that focuses on a estranged couple that finally have to deal with their issues after 20 years of abandonment and anger. Emma played by Stephanie Stroud has left her current husband in a rush and has become reunited with her first husband Ulysses played by Jeff Nichols. Emma and Ulysses have a son together and their son is trying to find Ulysses- a fact that terrifies Emma and forces her to have this confrontation with her ex.

The production at Lil Poppet is directed by Matthew Ivan Bennett and he makes the black box space feel both sparse and immersive (set design by Stroud and Bennett.) Ulysses lives in a trailer in Colorado, and he’s basically given up on human beings and having any kind of meaningful life. Emma see’s this and is disgusted but wants to help Ulysses so that her son isn’t disappointed with the absent father he has elevated to a hero status.

I must admit with Annapurna I’m not the biggest fan of movies or plays about marital discord (or fighting in general.) Obviously that’s a reality and an important part of life, but I have a hard time not absorbing some of that conflict and becoming anxious or stressed from the experience. That said, this tension is extremely well done, and I’m glad I saw it, which says a lot coming from me.

The title of the play comes from a Himalayan mountain and I’m not sure why the playwright Sharr White picked an Asian mountain as opposed to something in Colorado or Utah where the play is set. But nevertheless the metaphor is ever-present of the massive mountains that can divide us as humans and how particularly in marriage choices can be made that seem unsurmountable to overcome. The more we learn about Ulysses and Emma’s past the more we see they probably should have never been together to begin with.

That said, Stroud and Nichols have an underlying chemistry that even with all the fighting we understand why they were (and are still) attracted to each other. This dynamic between them makes the play compelling and helps me overcome my national aversion to fighting and the tension that builds with me as an audience member.

The production of Annapurna at Lil Poppet does everything it can to immerse you in the experience of this couple and it reminded me of the trailer parks I visited on my mission. This is a more academic couple than I usually saw in rural Indiana but the trash and  laissez-faire attitude to life is very similar. Ulysses is after all a poet so his version of poverty is going to be of the more thoughtful elevated variety.

Unfortunately the run at Lil Poppet was very short and I am admittedly late in getting out this review. While Annapurna has closed keep an eye on this theatre company as they always produce bold and exciting productions. They also had a ‘pay what you can’ system for this play so if you’re on a budget they are very accessible for professional quality acting and directing. Coming up in June they have the play True West which has been on my bucket list for a long time. I’m very excited to see it. More information can be found here.

Annapurna is a play written by Sharr White in 2013. It premiered Off-Broadway in 2014 with Megan Mullally and Nick Offerman as our lead couple.

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. Please take a look here.

Hi theatre friends! I hope you are doing great and enjoying local theater in your community. If you are new to my site I have my reviews where I give a full and detailed critique of the live theater and then I have my logs for shows I paid to see and was attending as a patron not as a critic. Today I have 3 shows to fill you in on and 1 new works festival.

Finding Neverland- Centerpoint Legacy, Centerville

I already did a log on this show a few weeks ago but I wanted to see the other cast. It was the TThS cast and it was truly an astonishing piece of community theatre. If they offered a way to purchase a proshot of this production I would. It was absolutely beautiful and I would put Centerpoint up against most equity theaters let alone community theater and for such a bargain. It’s phenomenal.

What impressed me the most about Finding Neverland is the artistry on display. I’m normally not a big projections person but the way they used them in conjunction with the dance and costumes for a whole artistic experience was astonishing (director Kristin Pettingill Callor). I think it was “Circus of Your Mind” everything became black and white like an M.C. Escher painting (the costumes are always top rate at Centerpoint. Costume designer Tammis Boam). The songs are also absoloutely beautiful especially in Act II with songs like “When Your Feet Don’t Touch the Ground” and “What You Mean to Me” (I wish they would let me do full reviews there because it has been a few weeks since I saw this show but you can watch my out of theater reaction above to get an idea of my thoughts back then.) I loved both casts but Isaac Carillo and Jessica James Lewis had wonderful chemistry as Barrie and Sylvia. Finding Neverland has finished at Centerpoint but I’m glad I got to see it twice. They have Fiddler on the Roof coming up and I’m sure that will be outstanding. Can purchase tickets here.

Lucky Stiff- West Valley Arts, West Valley City

I had seen the musical Lucky Stiff one time before and really enjoyed it but I think I liked it even more at West Valley. What a hilarious night of theater by a very talented cast. It’s a ridiculous story in the spirit of screwball comedies of the 1960s with a bizarre premise that leads to a lot of laughs.

To make this kind of farce effective the actors have to sell without being over-the-top or grating and they did a great job with that at WVA. I was particularly impressed with Brandon Ngo as our neurotic lead Harry and Amber Woody as the unhinged Rita. I love how director John Sweeney brings the experience up into the audience and on the platforms so we are surrounded by the chaos. The creative set by Morgan Golightly is also very impressive. I especially loved the floor that turns into a giant roulette wheel. I’m not always the biggest fan of WVA’s choices but Lucky Stiff really worked for me. You have a few more chances to see it this weekend and tickets can be purchased here.

Exploration of New Works- Harrington Center for the Arts, Lehi

It always amazes me with all the theater I see that I am still finding out about new companies and playhouses I’ve never attended. One such example is the Harrington Center for the Arts in American Fork. I believe they are working to build the center but evidently they’ve been putting on productions and supporting the arts for a while and I’d never heard of them. I was very excited to hear about the Exploration of New Works festival they put on over the first weekend of May and it was an exhilarating experience to be a part of.

I attended 2 of the nights of new works. The first was First Pages of 6 plays in progress. They all showed potential but my favorite was Spartan Moms: A Play in 3 (Thoroughly Interrupted Acts) by Amy Banta about these stressed out Moms that is very funny.

The next day was 2 45 minute musicals in progress. The first is Too Many Voices by Tyler Thompson which didn’t do as good a job as I’d like of giving me a feel for the music and what is unique about it’s story of a mental health crisis. There’s definitely heart there and I absolutely love Noah Hurley who is one of the leads but they will definitely have a challenge of it not feeling derivative of other similar shows.

The other show is currently called The Untitled Mars Project Rae Covey and Lynn Spector. This is very exciting and has huge potential. It is about the true NASA project where people did a mock Mars simulator in 1990. I saw a documentary about this at Sundance and it’s a fascinating story. What a great idea for a Broadway musical and I loved the songs. The cast with Nina Au and Ethan Kelso are also great. Keep an eye out for this because like I said it has huge potential.

To find out more about the Harrington Center click here.

The Drowsy Chaperone- Draper Historic Theatre, Draper

I first saw The Drowsy Chaperone in previews in 2006 on Broadway with Sutton Foster and the original cast. It was fantastic then, and I’ve loved it ever since. It’s been interesting to see it evolve over the years but even at it’s worst it still makes me laugh and has a sweetness to it that I enjoy.

The production at Draper Historic has all of the good parts of the show with a more bubbly Man in the Chair than I am used to seeing played by Christopher Stockstager. I like that they didn’t scrub out the innuendo as I have seen some Utah casts do and he sang and danced along with some of the ensemble scenes. I also enjoyed Pam Winrow and Kian Byington as Mrs Totendale and her Underling respectively. “Love is Always Lovely at the End” is a highlight of the show. I also appreciate they used the apartment some for our exits and entrances like the Chaperone coming out of the murphy bed is very funny.

All that said there was about 2 years where anything at Draper Historic was some of my favorite pieces of community theatre of the year. The last few shows I’ve seen there have been a bit underwhelming in the choreography and use of projections. Just not the scrappy creativity I was seeing for a while. They also tend to overact many of the songs. It’s fine but just not the outstanding community theatre I was seeing for a while. I do not have my digital program any more so I’m not sure on the director for The Drowsy Chaperone. It still has a couple more performances and tickets can be purchased here.

So there you have it. Let me know if you have seen any of these shows and what you thought. Happy theatre going!

Finding Neverland has music and lyrics by Scott Frankel, Gary Barlow and Elliott Kennedy with a book by Allan Knee and James Graham based on the play The Man Who was Peter Pan by Knee and the screenplay by David Magee (1998 play, 2004 film) It debuted on Broadway in 2015. Lucky Stiff has music by Stephen Flaherty and lyrics and book by Lynn Ahrens based on the novel The Man who Broke the Bank at Monte Carlo by Michael Butterworth. It debuted Off-Broadway in 1988. The Drowsy Chaperone has music and lyrics by Lisa Lambert and Greg Morrison with a book by Bob Martin and Don McKellar. It premiered on Broadway in 2006.

These logged shows I pay for out of pocket and I’d love to do that as much as possible. If you have a show you’d like me to take a look at and write a full review let me know. I also have my patreon which is a great way to support what I do and get some really fun perks. Find out more here.

This April I was invited to attend the Salt Lake County Adaptive Recreation’s production of Matilda Jr. As this is a unique production for young adults with intellectual disabilities I didn’t think I could do a traditional review (it’s also only about 35 minutes so wouldn’t qualify anyway.) So I decided to wait until their next production is looking for talent and hopefully help promote the good they are doing

Like I said, this production features performers with intellectual disabilities and features selection of the songs and dialogue from a Broadway musical like Matilda. What I thought was most impressive about what they are doing here is each actor has an assistant behind them telling them the lines and helping them know what to do for their part. This obviously is more demanding for some students than others but I was amazed at how seamless it all was with the teachers behind the students making sure the performer has all of the spotlight. It wasn’t awkward or halting in any way. They could not have pulled it off any better, which was very heartwarming to see young people participating in something they might not otherwise be able to do.

The most impressive performance came from Lisha playing Trunchbull. She got into character the most and even had a convincing British accent. It is easy to tell she is the star pupil of the group but everyone appeared to have an empowering experience on stage.

The production was directed by Kylee Crane with Miranda Moon producing. Crane says in her directors notes “these performers are so hard working and I am very lucky to be called their director.” I felt lucky to be in the audience enjoying the whole experience. The show takes place in one of the classrooms at the Copperville Rec Center and the sets, lighting and props are kept to a minimum to help the students focus on the songs.

Coming up next for the center is their production of High School Musical Jr and anyone with intellectual disabilities 15+ can sign up to participate. Rehearsals are from 5-7pm and begin June 8th (performances August 13-14th so it is a serious commitment to participate.) There is also a $65 fee for participation. More information can be found here.

Matilda features music and lyrics by Tim Minchin and a book by Dennis Kelly based on the Roald Dahl classic novel. It first appeared on Broadway in 2013 and the West End in 2011.

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. Please take a look here.

I would guess there is probably not a more recognizable movie in the history of Hollywood than The Wizard of Oz. It truly is iconic and with the release of the second Wicked film last year everyone wanted to get in on the Oz action and put on the stage version of The Wizard of Oz. The latest version has just opened up at The Ruth and while this is far from a perfect adaptation of this movie the team has elevated it to something special and more memorable.

My favorite part of this musical is the casting. Madeline Clifford is perfect as Dorothy and her trio of companions are also all really sweet with Logan Neville, Collin Larsen and Geoff Reynolds playing Scarecrow, Tin Man and Cowardly Lion respectively. It is also really fun to see Stephen Kerr playing Prof. Marvel/Wizard. I’m so used to him playing Scrooge that it was interesting seeing him play this character and I couldn’t help but think about how Scrooge and the Wizard are kind of similar? One is a more jolly brand of cynicism but there’s something there to ponder…

Anyway, the cast is great. The problem with this adaptation is it is unnecessarily slavish to the source material making for a bit of a slog in the adaptation. This leaves it up to the company to elevate the sequences with visual effects and choreography and fortunately at The Ruth they do an outstanding job with these elements. Director Ashley Carlson does everything she can to engage the audience with visual spectacle from the use of puppetry throughout (I particularly liked the puppets for the tornado. Very creative) to the lighting bringing in the themes of rainbows obviously established in “Over the Rainbow” throughout the piece. She also does a good job making the experience as immersive as possible. The actors come into the aisles frequently and there is flying monkeys, loud sound effects and even cool moments like when actual sparks fly out of the witches broomstick to Dorothy and Scarecrow. I’m still not sure how they pulled that effect off.

It does make me wish the Ruth had been designed a little bit more technologically forward. I understand the desire to hold on to the charm of Hale Center Theatre Orem but watching a show like this one can’t help but wish the stage could spin around for the tornado and the Emerald City could be more dynamic set. Oh well. They do all they can with what they have.

Most of the musical highlights of the night are our classic songs from the film like “Over the Rainbow” but “Jitterbug” is another standout moment since it was written for the film but removed. They involve a lot of dancers here and that’s a lot of fun. The costumes by Lexi Goldsberry are also very impressive with an admirable attention to detail. For example, in the Emerald City sequence all of the actors have headpieces and unique hairstyles. It helps give what can be a dull experience visual interest and delight. I particularly admired Dorothy’s looks and especially an extremely cool quick dress change at the Emerald City.

If you are looking for a great show to introduce your children to theatre than The Wizard of Oz at The Ruth is a wonderful choice. It is playing through May 23rd and tickets can be purchased here.

The Wizard of Oz is based on the 1939 film of the same name that took Frank Baum’s novel and added songs from Harold Arlen and EY Harburg. New material and a new book was done by Andrew Lloyd Webber and Jeremy Sams with additional lyrics from Tim Rice. It premiered on the West End in 2011

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. Please take a look here.

One of the great things about live theatre is there are so many aspects to it to entertain and delight. Some times the script itself and the powerful dialogue is enough to engage an audience in nothing but a black box empty space. Other times it’s the performances, some times visual spectacle or music wows the audience. I love all of it of course but must admit I am a sucker for immersive experiences and the more intimate the better. This is why I jumped at the chance to see the play Red this last weekend at an art class room in Westminster College put on as a collaboration between Lil Poppet Productions and Sackerson Theatre Co. The play itself is a fairly generic portrait of a tortured artist but the experience is one I won’t soon forget.

This is not the first time Lil Poppet has put on an immersive play like this at Westminster College. Back in 2024 their production of Misery was literally “life changing.” To quote my review: “I can’t think of a time when I have been more connected to a performance in my life as a theatregoer.” While Red wasn’t as mind-blowing an experience it still is a really cool experience I’m glad I had. They even have the same director as Misery with Morag Shepherd and the same lead actor Tyson Baker.

In a way Red is even more immersive than Misery because that play isn’t about art or artistry so its setting in a ceramics classroom didn’t add anything to the story aside from its closeness to the audience. With Red, however, being in an artistic space grounds the story and helps make it easy to be engrossed in the world of fine art and painting. After all, it’s about the artist Mark Rothko and his famous painting Red and we actually get to see the actors painting a canvas red much like Rothko might have done.

The co-lead in the project is Amona Faatau who plays Rothko’s assistant Ken, and he is able to keep up with the intensity of Baker’s performance. He also has more of the emotional scenes and sells those moments well. Rothko’s demons seem mostly self-inflicted where Ken’s definitely are not which provides contrast between the 2 men and makes us root for his character to find peace.

I guess I just wish the playwright had found more interesting wells to dive into with Rothko than the frustrated genius who treats others like garbage. Frankly at this point it would be more refreshing and interesting to see a tortured genius in a play/film that is cuddly and nice to everyone. I realize one can’t change who people actually are and it seems Rothko was a diva it’s just not that insightful any more.

The most effective moments are when Ken calls Rothko out on his BS towards the end of the play. I would have loved to have seen that go even further. That his blocks of color are try-hard attempts to push back on surrealism and cubism. No matter how big a fuss you make as a tortured artist it doesn’t make the pieces any more enlightening or inspiring.

Anyway, knowing that Rothko did commit suicide it makes certain moments more chilling and poignant and Baker is incredibly effective at selling those scenes. Plus, it simply adds something to have the tortured genius right in my face staring at me as he rants and raves. That’s the artistry I find more compelling than Rothko and his pretentious blocks of color…

Unfortunately I went to the closing night of Red but they have a new production of Annapurna coming up, which I will be reviewing. I’m also very excited to see True West there in June. Definitely make sure you have Lil Poppet on your radar as you will always have a memorable night of theatre whenever you see one of their shows. More information can be found here.

Red is a play by John Logan based on the life of the artist Mark Rothko. The original production premiered in London in 2009 and then on Broadway in 2010. Evidently there is a proshot of the London production which I will have to check out some time.

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. Please take a look here.

As a critic I don’t often get involved in the behind the scenes of production but occasionally I will be asked for advice from companies particularly on what shows I recommend they put on over others. One such example is when I suggested to the good folks at Ideal Playhouse they put on The Spitfire Grill. This is a show that I saw way back in 2006 at Hale Center Theatre Orem and it always stayed with me and yet I’ve never been able to see it again since. It’s such an endearing story with beautiful songs that I was thrilled when Ideal announced they had taken my suggestion and were putting it on this Spring. Now I have seen it and they’ve done this wonderful show justice. I highly recommend supporting this touching and well performed little production of a highly underrated musical.

If you are unfamiliar with the story (or the 1996 film that it is based on) The Spitfire Grill is a simple story about an ex-con named Percy who is trying to start a new life for herself in picturesque Gilead Wisconsin. Upon arrival she gets a job at the town diner and hub owned by salt-of-the-earth type Hannah. She also gets to know the local sheriff Joe and fellow waitress Shelby. The interesting thing about a show like The Spitfire Grill is not that much plot-wise actually happens but some musicals we just enjoy being with the people and going on a simple journey with them.

The production at Ideal is directed by Steve Anderson with music direction by Karyn Anderson. They find a way to make Gilead and the grill come alive on their small stage with projections of trees that come out onto the outer walls and I liked that there are layers to the set with the grill, trees and then a projection in the background. It’s as immersive as one could get for the small space. The only critique I might have changed is making Effy more of an obvious postal employee with a uniform or hat or something.

I was also impressed with the cast especially Ashley Bates as Percy. She has a pluck to her performance you don’t always see in these kind of roles (easy to make a role like Percy all brooding and no lightness but she avoids this trap beautifully.) She also has a very strong singing voice beautifully executing songs like “Colors of Paradise” and “Wild Bird.” I also loved Jessica Theriault as Shelby and her rendition of the super underrated song “When Hope Goes.” What an absolutely beautiful song.

Anyone who has read my reviews knows how much I love the musical Bright Star. It is a stunning work of musical theatre and one that has become quite popular in Utah. I honestly think anyone who loves Bright Star would also love The Spitfire Grill. Yes both are about small towns but it’s more than that. They both have a humanity to them with characters that undergo simple but moving journeys. Plus they both have beautiful folk music you’ll be downloading as soon as you leave the theatre. Please don’t let this gem of musical theatre pass you by. After all it could be another 20 years before you get the chance to see it again! I know it’s a drive for many to get out to Heber but I know you will find it worth the effort. It is playing through May 9th at Ideal Playhouse and tickets can be purchased here.

The Spitfire Grill has music by James Valcq and lyrics by Fred Alley who also both wrote the book. It is based on the 1996 film of the same name. It had an Off-Broadway run in 2001.

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

If someone asked me to pick a ‘perfect’ recent musical I would probably go with either Daddy Long Legs or Come From Away. Are either technically perfect? Of course not but there is very little I would change to either show. When a company puts either on they really just need to get out of the way and let the finely crafted pieces of musical theatre do their jobs. Such is the case with the new production of Come From Away at PTC. It is a warm hug of a show and sometimes we all need a musical theatre hug.

If you haven’t seen Come From Away it takes us back to September 11, 2001 when 38 planes were ordered to land at the Gander Airport in Newfoundland, Canada. Overnight a small city was forced to accommodate 7,000 unexpected guests and their animals. This all while dealing with the panic of terrorists attacks in New York, Pennsylvania and Washington DC. I remember the fear of those days, and I can’t even imagine if I had been out East or traveling what that would be like (I was 20 and a college senior at BYU.)

Come From Away is known for having a simple set and the set designer at PTC, Jo Winiarski, elevates the experience with her booth-style chairs that can be flipped into various configurations making everything from airplanes to the town pub. The only part of the set I didn’t love is instead of the neutral background of the Broadway show they went for a large circular logo made of trees. While I’m sure they were going for a professional airport aesthetic it looked too corporate and cold for this warm and cozy show. It just didn’t fit the vibe of the piece in my opinion.

The biggest challenge director Karen Azenberg faces is managing the large (and talented) cast who all play multiple roles (they are all listed as ‘& Others’ in the program.) It is no small task to manage 14 actors all playing multiple parts. Fortunately the performers nail their roles with everyone making distinct choices for all of their characters and having chemistry together as a cast. When the show is done I had been on a journey with the characters, and we had all learned to thrive in tough times. It’s heart-warming and like I said a hug of a Broadway musical. Jessica Rush leads the cast as pilot Beverley & Others. Galyana Castillo is wonderful as Hannah & Others and Mary Fanning Driggs has homespun charm as Beulah & Others.

My favorite songs of the night are “I Am Here” sung by Hannah as she worries about her firefighter son, “Prayer” sung by the Company and “Me and the Sky” sung by Beverley. But honestly there’s not a bad song in the group and it uses its music judiciously with only 14 songs total in the show. It’s rare these days on Broadway that shows don’t feel at least a little bit bloated Not the case here.

They also have a full band behind the performers at PTC with conductor and piano by Phil Reno and fiddle by Aaron Ashton.

Honestly Come From Away is a show I have a hard time imagining anyone disliking. I’m sure those people exist, but I’d still struggle to understand their reasons. It’s got everything one could want in a night of theatre, and in our deeply cynical world sometimes it’s nice to be reminded of the kindness of strangers. It is playing at PTC through May 9th and tickets can be purchased here. I think you will agree it is well worth your time.

Come From Away has music, lyrics and book by Irene Sankoff and David Hein. It first premiered on Broadway in 2017 and it lasted 1669 performances and 25 previews.

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