If someone were to ask me what is the most underrated company in Northern Utah I would definitely respond with Ogden Musical Theatre. Whether it is their concert theatricals, family shows like Annie or annual Dracula they never fail to impress. Their current show is The Scarlet Pimpernel: In Concert and while it is probably my least favorite of what I’ve seen there recently it’s still got a lot to offer for a night of Broadway.

One of the standout aspects of this production is the large orchestra they’ve assembled. In a world where most semi-professional productions do not have orchestras it’s so special to be treated to live music. The orchestra director is Michael Palumbo and he conducts the Chamber Orchestra Ogden which has musicians in the pit and on the stage. The music director is Jake Heywood and they manage to have the music not overpower the actors as sometimes can be the case with live music.

Speaking of the singers our leading couple is very strong with Ben Ames as Percy and Jessica Andrus as Marguerite. I think I could watch Andrus sing the phone book and be entertained. She’s definitely one of the best singers in Utah in my opinion. Even though I think most of the ballads for Marguerite are on the bland side she has such a beautiful voice (with a decent French accent) and she elevates the material. Ames has the moxie one needs to play Percy and Ricky Parkinson plays annoyed well as Chauvelin (plus I appreciate a little fight choreography worked into the ending, which one doesn’t always expect in a concert.) If you have no familiarity with The Scarlet Pimpernel story you’ll have no problem following along with this concert version.

Given OMT did Tale of Two Cities last year it does seem a little strange to do Scarlet Pimpernel this year. Will we get Les Miserables next year? Make it the French musical trilogy? I wouldn’t have a problem with this choice except that Cities was so outstanding that it’s hard to not make the comparison. Also Pimpernel seems like an odd choice for a concert experience when so much of the humor and even plot revolves around the fashion of our band of foppish men. They try with some handkerchiefs and cravats but I would have loved to see a full staging of this musical with these actors in their fru-fru suits. This is especially true for “The Creation of Man,” which is my favorite number of the show. There’s even a scene where Percy mocks Chauvelin for wearing all black when he is also wearing all black as part of the concert uniform. I also much prefer the projected images of maps, artifacts, paintings over AI images, but that’s just me.

Still, it’s not every day in Utah one can see a full orchestra and such talented singers like Ames and Andrus. I’m certainly glad I was able to attend. The Scarlet Pimpernel: in Concert is directed by Jan Williams and is playing through February 28th. Tickets can be purchased here.

The Scarlet Pimpernel has music by Frank Wildhorn and lyrics and book by Nan Knighton based on the novel by Baroness Orczy. It debuted on Broadway in 1997 and ran for 772 performances.

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.

Anyone who knows me knows I love Singin in the Rain. The movie is of course a classic but they also did a great job with the Broadway adaptation. Indeed, I like it so much I have seen it 9 times since the pandemic. It’s funny and romantic with great songs and choreography. What’s not to like?. The latest production is at Hopebox Theatre and it is as lovely as their theater’s mission.

Hopebox has a special goal to help support individuals fighting with cancer. Each show picks a Hopebox recipient and ticket sales and other fundraising goes to help that recipient with medical expenses. I love this program and find it gives Hopebox shows an added layer of heart and soul as they try and help a member of their community (it can make them hard to review but it’s worth it!)

For Singin’ in the Rain they have 2 casts and I saw the Silver cast with the other cast being Teal. This is a show that lives and dies on its leads, and I really enjoyed all 4 leads in the cast I saw. Braden Hull and Jordyn Tracy have nice chemistry together as Don Lockwood and Cathy Selden respectively. Garrett Stephenson is expressive as Cosmo and Caitlin Olsen is a hoot as Lina Lamont (she gets the Lina voice down perfectly.)

One challenge Hopebox has is the stage is small so director Leslie Richards and choreographer Ginny Waldron have to make every inch of floor available count. Richards helps make this feel seamless with her brilliant set design that allows for panels to fold in and out to create screens for movie watching as well as other settings. They also did a very good job with the silent movie footage for the “Dancing Cavalier” and other filmed scenes.

Some of my favorite moments of the show are between Hull and Tracy including their meet cute on Hollywood Blvd, “You are my Lucky Star” on the backlot and in act 2 for “Would You.” Like I said, they had terrific chemistry which made those scenes really pop. Stephenson sells the physical comedy of “Make Em Laugh” and Olsen is very funny with “What’s Wrong with Me” (usually new songs written for stage adaptations are terrible but I like this one. It feels at home with the rest of the songs and nice to give Lina a solo.)

The only major downside to the production is the iconic ‘Singin’ in the Rain’ number was a little light on the rain. I’m not sure if something wasn’t working because the ceiling had lots of pipes for the water but very little actually coming out. It just loses some of the magic of the scene if we can barely see the rain. If there is any way they could fix that it would make the scene better. There are also time when the backtrack overwhelms the singers both in volume and timing, but I’m sure that just takes practice.

They are doing some renovations to their parking lot at Hopebox so make sure to arrive early when you attend Singin in the Rain. It’s a long show but one the whole family should be able to enjoy. I enjoyed it enough I hope I can come back and see the other cast. It is playing through March 14th and tickets can be purchased here.

Singin in the Rain is a musical based on the 1952 film of the same name which was actually a jukebox musical of popular tunes of its day. The stage version has music by Nacio Herb Brown and lyrics by Arthur Freed and a book by Adolph Green and Betty Comden. It first premiered on Broadway in 1985.

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 love the plucky little Heritage Theatre there are times when I wonder if I’m nuts for driving all the way up to Perry to see a show there (over an hour drive for me) but then I see something like their Guys and Dolls and am reminded why I do what I do. What a wonderful piece of community theatre with everything one could want out of a performance of this classic musical. I loved it!

With this particular production I have to give a lot of credit to director Beth Bruner. She seems to have a gift for bringing the best out of her performers as I have seen many of these actors before in other shows but never looking and sounding as good as they did here. Bruner also directed Heritage’s Wizard of Oz and My Fair Lady which were both outstanding. I appreciate the attention to detail like when Nicely Nicely gives the update on Mindy’s strudel and cheesecake he’s eating a piece of strudel. Another extra touch I appreciated is the film they had of the women’s fantasy men in “Marry a Man Today.” For a small production they didn’t have to go the extra mile like that but they did.

I also appreciate the casting particularly our 4 leads and especially Spot Beecher as Nathan Detroit. Because Frank Sinatra played Detroit in the movie he’s often cast incorrectly. The character in the musical is anxious, neurotic and even a little nerdy. Beecher gets this and it makes him more likeable instead of just being a slick jerk breaking Adelaide’s heart. Brianne Jeide has a very beautiful voice as Sarah Brown and isn’t half bad at playing the boozy version of her in the Havana scenes. Ashley Lorraine Williams is funny as Adelaide and Sam Bakker delivers his best performance I’ve seen from him as Sky Masterson. I also want to give a shoutout to Colton Pickarts for his very unique take on Big Julie. I’ve never seen anyone play that role quite like he does.

As is always the case. I love that Heritage uses almost all handmade sets over projections (scenic designer Jess Tarbet.) This allows them to put in little easter eggs like an NYC storefront of Bruner’s Grocery named after the director. Maybe I’m old school, but I just prefer handmade sets as it gives more of the personality of the creators over usually AI projection. I was particularly impressed with how they created the sewer set for “Luck Be a Lady.” The costumes are also a lot of fun especially Adelaide’s looks. For “Adelaide’s Lament” she has a cobalt blue dress with a blue robe that is very striking (Amber Beecher costume coordinator.) She also has a real va va voom look for “Take Back Your Mink.”

Of course a community theatre production isn’t going to be perfect but any foibles is all part of the charm. Guys and Dolls is one of the best shows I’ve seen at Heritage, and I recommend making the trip out to Perry and giving them your support. It is playing through March 7th and tickets can be purchased here.

Guys and Dolls has music and lyrics by Frank Loesser with a book by Jo Swerling and Abe Burrows based on the stories by Damon Runyon. The show first appeared on Broadway in 1950 where it has been revived several times over the years.

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.

With so many theatre companies in this area each one has to find a way to stand out and cater to different audiences. MadKing Productions seems to have found a winning combination with their subversive teen narratives and their drunken Shakespeare (not together but it works!) I absolutely loved their Heathers a few years ago and last year’s We are Tigers was also very good. This year we have the straight play She Kills Monsters and while it is definitely my least favorite of the 3 it has a lot to offer and something especially young people will enjoy.

Going into She Kills Monsters I’d heard a lot of good things, and I know it is very popular amongst the teen theatre crowd. I was very excited to check it off my theatre bucket list, but I must admit I had a hard time getting into at first. Perhaps it is my lack of familiarity with Dungeons & Dragons, but I felt at first that the script spent more time on the machinations of the game over the characters of Agnes and Tilly. However, as it moved along I became more invested. Agnes played by Kami McDonough is easy to connect with as the more extroverted member of a family with the more nerdy introverted siblings. Of course it’s very sad when tragedy robs Agnes of the opportunity to get to know Tilly and she is left with only her D&D game to get to know her sister.

I do wonder if playwright Qui Nguyen overcomplicates things a little bit. I don’t know if I needed a narrator, Chuck the dungeon master, a crush for Tilly, a boyfriend for Agnes, 2 bullies, as well as several other characters who play roles in the game. It’s also surprising that Tilly wouldn’t include her parents in this game (Agnes says they are average parents at the beginning but average doesn’t mean bad.) Perhaps it is this crowded feeling to the script that made it hard for me to engage with it at first but Nguyen does eventually bring everything together. As someone with 3 sisters I liked the dynamic of the 2 sisters and Agnes in particular as she tries to cope with her deep grief and loss.

The show at MadKing is directed by James Naylor, and I like the way he presents Agnes as a normal everyday girl- she’s not popular but she’s also not a nerd like Tilly. Emma McKenzie is warm and endearing as Tilly and the 2 actresses have a believable chemistry as sisters. The play takes place in the black box space at the Gateway and they use every inch of the stage to go on their D&D adventure even having dragon puppets at one point. I loved adding some fun fight choreography (Zac Curtis) and costumes that looked like they are from the creative mind of a teenager like Tilly (costumes by Carleigh Naylor). I also enjoyed all the nostalgic 90s music sprinkled in between the scenes.

I think all of us can remember our first time losing someone close to us and how life altering that experience can be. For Agnes, she not only misses her sister but through playing the game she realizes there was a whole side of her she didn’t know anything about. That emotion is what finally connected with me with this play. The D&D game is basically a diary from her sister and through experiencing it Agnes is able to grieve and feel a new level of love for her sister. It’s a very sweet journey to be a part of.

There are 2 casts to MadKing‘s She Kills Monsters, and I saw the dragon cast. It is playing through March 8th and there is a reduced rate for students, which is perfect for the teens that will love the show. They also have a Sunday matinee, which is so nice and convenient. I definitely recommend it for teens and anyone who appreciates coming of age stories. There is some mature language and themes parents should be aware of. Tickets can be purchased here.

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.

It’s always exciting to see a new venue being opened as the more arts we have for our communities the better but it’s especially exciting when a historic landmark is restored and renovated for us all to enjoy. Such is the case with the Murray Theater in downtown Murray. Originally opened in 1938 this beautiful building has been lovingly restored and I look forward to seeing many films and theatre in this space. They did a wonderful job with the restoration keeping everything simple and free from any modern touches outside of important updates like ADA accessibility to the stage. The seats they selected are also very comfortable and look great in the large auditorium with the stage. To welcome the new space Murray City is putting on the musical The Marvelous Wonderettes and it’s a ton of fun anyone will enjoy.

I have actually seen this musical many years ago and remembered it being on the dry side but perhaps I just got a bad iteration because I had a good time with it last night. In many ways it is like Forever Plaid which is playing at The Ruth. Both have 4 performers singing songs from the 1950s. Of course in FP the boys are dead but the structure of the show are similar. I bet if you like FP than you’ll like Wonderettes.

In such a simple show a lot of its success comes down to casting, and I liked all of our wonderettes. All 4 actresses are excellent singers and they have nice harmonies together (music director Lynn Chatterton.) The story they have for the women of singing at a prom in 1958 and then a reunion in 1968 for act 2 is thin but all we really need is an excuse for them to sing a bunch of bops together. Each actress has her moments but the standout is Eden Rhodes as Cindy Lou Huffington (the pink wonderette.) She has a bunch of low notes throughout, which she pulls off well. She also has the biggest character arc going from jealous at the prom to repentant and hopeful at the reunion. Jadyn Coffin is also very funny as Suzy Simpson (the blue wonderette) and she has a tumultuous relationship with the show’s lighting designer (the character is named Ritchie but the actual lighting designer isn’t credited in the program.) The cast is rounded out with Siri Reilly as Missy Miller (apricot wonderette) and Larissa Villers as Betty Jean Reynolds (green wonderette.)

The production is directed by Galen Chatterton with co-director Karen Chatterton and they did a good job developing the chemistry of the 4 ladies and aside from a little pinging on the microphones everything went off without a hitch. I particularly enjoyed when certain scenes involved a volunteer from the audience. The set is by Dwight Western and it creates the setting of a 1958 prom perfectly. Plus, they have to create the logo for the school mascot of a chipmunk. The brightly colored dresses are designed by Chad McBride and Karen Chatterton.

My favorite songs of the night are the songs I am less familiar with like “Allegheny Moon,” “Maybe,” and “Maybe I Know” but I also enjoy the standards like “Son of a Preacher Man,” “Respect,” “Lollypop” and more. By the end of the night you will have heard over 30 songs and who can dislike hearing the classics sung well? Not me!

Unfortunately tomorrow is the last day to see The Marvelous Wonderettes at The Murray Theatre but you should definitely try to attend if you can and keep an eye out for what will be coming to the newly renovated space. Tickets and more information can be found here.

The Marvelous Wonderettes is a jukebox musical featuring songs from a variety of artists. The book is by Roger Bean and it first premiered in 1999 with Off-Broadway runs in 2008 and 2016.

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 theater friends! I have some quick recent shows to log for you all. If you are new to my site a log post is like a diary entry for shows I am not reviewing as a critic but just attending as a patron. I would love to review for any of these companies but also enjoy supporting the arts any way I can.

SEE HOW THEY RUN- CENTERPOINT LEGACY, CENTERVILLE

Since starting my reviews I have seen the play See How They Run a bunch of times and it’s honestly one of those pieces that’s hard to screw up. It’s just so darn funny that I will never tire of seeing it. My most recent production is at Centerpoint Legacy and they did a great job like they always do.

The biggest challenge director Jennifer Westfall has is the large stage is not the typical environment for this play. Most of the other times I’ve seen it have been in black box or small stage type environments. With lots of space it makes it more challenging to get that feeling of chaos so they can really sell the physical comedy. Fortunately the impressive apartment set creates areas for the action to take place in and the actors are always big and broad enough in their performances to match the size of the stage.

The highlights of the performance I saw (TThS cast) is Sierra Lutz as Ida and Drew Saddler as Sergeant Towers. Lutz has an impeccable accent and delivers the naive Ida antics perfectly and Saddler brings a lot of energy to a small role as the police officer trying to corral all the madness. I’d go back and see the MWF cast which to me is always a good sign at Centerpoint (I almost always do go back and see the other cast because they are so outstanding.) See How They Run is playing through Feb 26th and tickets can be purchased here.

PETER PAN- BALLET WEST, SALT LAKE

I always like pushing myself out of my comfort zone by trying new things and honestly ballet is just something I don’t see very much. Outside of the Nutcracker I can’t think of when I last went to a ballet, which is a real shame as Ballet West is one of the best companies in the entire world. When I saw they were putting on Peter Pan I decided to give it a watch because I thought the combination of ballet and flying would be neat. In the end while it was a bit of a challenging experience because of it’s length I’m glad I saw it.

One of the interesting aspects of this ballet is Peter Pan (William Lynch) is portrayed as a wild character with wild hair and a feral personality. I didn’t really understand why Captain Hook (Tyler Gum) had horns on his head but it is definitely different!

The sets by scenery designer Thomas Boyd are very impressive, particularly the large pirate ship in Act 3. This is a long sit with 2 intermissions and I must admit I did grow weary of it after a while. Still I’m glad I saw something different It is playing through Feb 21st and tickets can be purchased here.

SENSE & SENSIBILITY- PARKER THEATRE, SALT LAKE

You all know I love any chance I get to see a Jane Austen adaptation whether film or theatre. I love the tradition Parker Theater has been continuing where they do an Austen work, adapted in house, each year. I hope next year they will do Northanger Abbey because I think that one has so much to offer the stage. Anyway, I really enjoyed their Sense and Sensibility and would definitely recommend checking it out.

Jasmine Hohl and Isabelle Purdie play our sisters Elinor and Marianne Dashwood with Truman Schipper as Edward Ferrars, Spencer Hohl as John Willoughby and Jordan Palmer as Colonel Brandon. It’s a terrific cast and they all have good chemistry.

It is a script that zips along rather quickly particularly in Act 2 Spencer Hohl is the director of the production and he lets his cast and their chemistry do most of the heavy lifting for the story keeping the other production elements as simple as possible. I did like the rolling set designed by James B Parker that allows settings to change quickly so the girls can move from a ballroom to a house to outdoors easily. The script could have given scenes and characters a bit more time to breathe so we could become invested in their story but I’d still recommend this production. Sense and Sensibility is playing until March 7th and tickets can be purchased here.

NEWSIES- ON PITCH PERFORMING ARTS, LAYTON

There’s some theaters I lovingly refer to as ‘learning companies’ and what I mean by that is they are a chance for amateur actors to get their first taste of theater and develop their skills. These productions usually don’t have the polish of the semi-professional companies (although they can surprise!) but the learning spirit is part of the fun of it. Such was my experience seeing Newsies at OPPA. It is far from perfect but the bubbly energy of the ensemble is irresistible and I had a lovely evening watching it.

This production is directed by Leslie Barrett and she did a good job using every inch of the small stage and filling it up with bubbly choreography by Ashley Ramsey. The highlight of the cast musically is Camille Bassett as Katherine Plumber and performance-wise Sarah Heiner as Race. I also really enjoyed Laxx Everton as Les, Peter Davis as Crutchie, and Holly Day as Henry. It was not a perfect night when it comes to the singing but the personality of the performers makes it not matter. Newsies is always a great way to teach kids a lesson about unions and activism in this country (although our showing was nearly sold out so don’t wait to get your tickets.) It is playing through March 7th and tickets can be purchased here.

So there you have it! 4 shows. What have you been seeing? I would love to hear in the comments. Happy theatre going!

See How They Run is a play by Phillip King and it was first performed in 1945 in the West End, London. Sense and Sensibility is adapted by Spencer and Jasmine Hohl based on the novel by Jane Austen. Peter Pan: the Ballet has music by Sir Edward Elgar with adaption, arrangements and incidental music by Niel DePonte. It is of course based on the play by J.M. Barrie was first performed in 2002 in Houston. Newsies has music by Alan Menken and lyrics by Jack Feldman with a book by Harvey Fierstein based on the 1992 film. It debuted on Broadway in 2012.

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.

I think most theatre fans can relate to having a rocky journey with some shows. While some material is consistently great others can vary a lot depending on the director, actors, singers etc. Such is my experience with Beetlejuice. The first time I saw it was on Broadway and I had a decent time with it. The Marquis Theater it was in is massive and it suited the visual spectacle of the production. My only downside that night was 2 teenagers sitting next to me singing the entire score (and as I always say if you annoy me at a show than you are really bad because I am incredibly tolerant.) The second time was the national tour at Eccles and I did not like it at all. It was shouty, annoying and seemed to last forever. I left feeling like I must have been in a good mood and given it the ‘I’m on Broadway’ bump the first time.

Fortunately I have seen it a third time- this time the Beetlejuice Jr version at The Empress Theatre in Magna, and I’m back to enjoying it again. The teens did a fantastic job and a fun time was had by all.

This production was directed by Scott Savage and the cast of teens is large and talented- particularly in executing the choreography by Brady Nielson. The Empress stage is unusual with 2 levels of action happening and they made it work with the action happening all around the audience and with the cast interacting and winking at me, which I thoroughly enjoyed.

Brittain Heywood played Beetlejuice and they have the requisite gravely voice needed for the role but they didn’t overdue it with the shouting like I had felt with the national tour. I get it that Beetlejuice is supposed to be a demon but there needs to be enough humor added to make the rather thin story palatable and that’s what they did here. The most effective sequence was the “Day-O” possession song, which is one of the only parts of the musical that actually matches the 1988 film. It was also nice to see that scene and think about the recent passing of Katherine O’Hara who played Delia in the film. I’m not normally who gets all weepy over celebrity passings but I did love O’Hara and I think she would have smiled at the teens and their version of this song. Delia was played by Alice Lopez and she brings a comedic energy that’s irresistible to the role.

Another special aspect of the production is I attended the sensory friendly matinee where the theater tries to make the experience as pleasant as possible for those who get over-stimulated easily or who need a more calming experience (maybe this is why it felt less shouty to me than the national tour? If so, than yay!) It was also nice because with the house lights up I could take my notes with ease.

A shout-out has to be given to Lydia Curtis who designed the costumes with makeup by Michelle Collard. I particularly enjoyed all of the Beetlejuice looks in the 2nd act. The biggest song cut for the Jr version is “Barbara 2.0” but I didn’t miss it. I was impressed they had elements like the sandworm and a shrinker to capture the underworld effectively.

There is also a nice message to the show with Lydia and her father Charles learning to be honest with each other about their grief over the loss of their wife and mother. When I saw it on national tour I was too distracted by all the screaming to care about the story and what it was trying to say. This through the sincerity of the teens it came through and I appreciate it greatly.

Unfortunately I saw Beetlejuice Jr on closing night but the teens should feel proud of all they accomplished with the production. I hope they keep pursuing their talents and I hope Empress continues with youth and sensory friendly shows. This truly could be where they shine brightest. Next up they have Little Shop of Horrors (which in some ways feels like an ancestor to Beetlejuice) It is playing Feb 27th to March 14th and tickets can be purchased here.

Beetlejuice has music and lyrics by Eddie Perfect with a book by Scott Brown and Anthony King based on the 1988 film. It first debuted on Broadway in 2019 and the national tour started in 2022. It had a limited engagement in 2025 that ran for 4 months

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 don’t think there has ever been as much anticipation for one of my theatre reviews than this one for Hale Center Theatre’s Hallmarked. Being the host of Hallmarkies Podcast everyone expected me to have big opinions on this musical satirizing romantic comedies and Hallmark movies. In fact, I was actually a little nervous because I wanted to be as fair as possible and give both the average patron and my fellow superfans an idea of what to expect. Fortunately, the show is a lot of fun and while I have my critiques I can confidently say it is a good time that anyone can enjoy.

Before I dive into the story I should mention the new Beehive Stage that it is premiering on. This a traditional proscinium stage that seats 322 (Hale’s Jewel Box in comparison seats 467) so it has the most intimate feel of any of the Hale stages and its traditional setup doesn’t have any of the obfuscation issues that can be a problem with both of their other stages. It’s a beautifully designed theater and I can’t wait to see many productions there over the years. I am frankly kind of amazed they have Hallmarked running on this stage until June but then again folks love Hallmark and rom-coms especially here in Utah!

Like many parodies we begin with an over-the-top version of what is being satirized so it’s a Christmas movie called The Christmas Beaus. This is a nitpick but some might be surprised that weddings and even proposals are not very common in Hallmark movies. In fact, there’s a lot of debate within the fandom of whether there should even be an ‘I love you’ at the end of a movie. Pretty much the only time there is such a big declaration or a wedding is if it is a ‘friends to lovers’ story and they’ve known each other for a long time. Otherwise a kiss at the end is usually all they go for.

Another misconception about Hallmark movies is that they are all city girl goes back to the country when really that was more the early part of Countdown to Christmas. This year they only had 1 out of 25 movies with this plot and it was technically a male character going back to the hometown and the hunk was a woman so still some subversion. My point is the genre and channel is not as tired as people think it is, but I get this is a parody and broad caricatures are what sell the jokes, so I’m fine with how they are used here.

Our Hallmarked heroine for this tale is named Julie and she’s cynical about love and relationships. Her sister and Mother love Hallmark movies but she has no interest in them. Unfortunately for her she is hired to work on a reality baking show (which they just had a baking show, Baked with Love, on Hallmark filmed here in Utah so that was a funny touch!) in small town of Idyllic, Vermont. It is everything that you dream about in a small town with nosy neighbors, a beautiful main street and of course the hardware store with the hunky single Dad widower owner named Monty. The night I attended Julie is played by Bo Chester and Monty by Derek Smith. He is your classic man with many jobs and in my opinion the scenes in the hardware store were the funniest and most accurate sequences in poking fun at Hallmark.

Some other sequences are less successful like a long song called “My Hallmark” which is actually parodying Disney princesses with townspeople dressed up as iconic princesses and animated birds projected on the screen. If they were going to ask for my advice I would cut this sequence. Not only does it have nothing to do with Hallmark but Disney has been actively avoiding romance for nearly 2 decades. Ever since Tangled they have been acting like love is a less powerful or profound way for a female character to evolve into but that’s a topic for a whole different essay…

Getting back to my review. I was impressed with the quality of the songs both in music and lyrics and the singing by Chester, Smith, Haley Wawro who plays her boss Ryann, and everyone else in the cast. “On My Way,” “Say Hello to Romeo,” “Afraid to Fall” were all solid entertaining show tunes. Obviously you have to like romantic comedies a little bit to enjoy Hallmarked but the bones of the musical are strong enough most anyone will be entertained by it. I just saw Hello Dolly and while those songs are legendary the romantic comedy framework isn’t that different. Basically if you can tolerate Hello Dolly than you should be fine with Hallmarked.

I actually think the script could have been even more subversive than it was. Like I would have enjoyed digs at the romantic comedy archetypes like fake fiancés or save the family store. A lot of time is spent on the baking show, which is definitely a Hallmark trope (they love a holiday themed bake-off) but sometimes it felt almost like a reality tv parody or Food Network parody more than Hallmark (particularly in Act 2.)

This production is helmed by Hale’s most reliable director Dave Tinney and he combines the projections with real sets well and the choreography by Lindsey D Smith is as bright and bubbly as you could hope for. I particularly liked the opening wedding with the Christmas dresses (costumes by Joy Zhu) and the song “You & I.” It’s a great way to welcome us into this version of Hallmark even if it’s not exactly like the real one I know and love.

I also appreciate that the humor in Hallmarked is never mean-spirited nor meant to insult anyone who enjoys Hallmark movies. That’s not always the case with Hallmark parodies. After all, through her Idyllic experience Julie finds hope again which is the best part of most romantic comedies. So if you are a superfan like me you’ll enjoy Hallmarked at Hale, and if you’re not you’ll have a good time too. It’s one of the better original premieres they’ve put on there and I hope to get the chance to see the alternate cast during it’s long run. It is playing through June 6th and tickets can be purchased here.

Hallmarked is written and composed by Michael Fox with Cameron, Dawn and Quinn Dietlein. This is the world premiere and Sally Dietlein is the producer with Alex Marshall and Quinn as the music directors.

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 love seeing original theatre it’s also fun to see different takes on the same material. This is why I was excited to see what a national tour could bring to the oft performed Clue: Live on Stage. I have seen Clue in various forms many times over the last few years including a high school production and a musical and while I don’t think this national tour brought much more than those regional stagings I still had a good time with it and would recommend it as a fun night at the theater. There are some things that just work no matter the amateur or professional status of the company and Clue evidently is one of those shows.

My favorite part of this production directed by Casey Hushion is the cast. All 6 of the main performers are very funny and they bounce well off of each other. I was particularly impressed with the snobby condescension of Sarah Mackenzie Baron as Mrs White and the manic energy of TJ Lamando as Mr Green. Nate Curlott is also very funny as Colonel Mustard (he takes everything literally and they get a lot of humor out of that.)

The set by Lee Savage helps them keep the screwball antics going with the various rooms folding out from the main set so the library, study and kitchen fold out with ease. The costumes by Jen Caprio are also very impressive capturing the personalities and colors of our iconic characters. Although I do think of Mrs Peacock as more blue and Professor Plum as the purple character which they have reversed here but the costumes still stand out and are bold and colorful.

The only real problem with Clue: Live on Stage is that for all its strengths it doesn’t stand out as superior from the regional productions I’ve seen. If you see it, you’ll enjoy it, but you could also wait and see it at a regional theatre for far less and have just as good a time. It’s one of those straight plays that is seemingly hard to screw up. They don’t here but it’s also probably not worth the added price since it is not included in season pass to Eccles (it’s an add-on.)

Still, if you did add it on you’ll have a good time and will get some laughs. Clue: Live on Stage is playing through February 15th and tickets can be purchased here.

Clue: Live on Stage is a straight play written by Sandy Rustin based on the screenplay for the 1985 film by Jonathan Lynn. It is also of course based on the popular board game Clue. I believe this is a non-equity production. This play has different scripted endings unlike the musical where the audience picks an ending out of a hat enabling 216 possible endings (I do prefer the musical tbh but both are fun)

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.

There are times I wish my theater friends in New York and abroad could see some of the community theatre productions we get here in Utah. I think they would be blown away and not just by the big spectacle productions but by the arts councils and smaller venues. Such is the case with the Timpanogos Art Foundation’s new production of Hello Dolly. I honestly don’t know what more a person could ask for in a staging of this musical. It’s a blast.

Now I must admit I’m not actually the biggest fan of Hello Dolly. It’s one of those classic shows you go to for the song and dance but not for the story. The plot revolving around matchmaker Dolly Levi is paper thin and really quite silly but who cares when there’s good singing and dancing to enjoy. At Timp Dolly is played by Kaily Simmons and while she is a younger looking Dolly than I usually see she has the mischievous spirit the role requires. I also loved Kenney Bird as Irene Molloy. She has an absolutely beautiful alto voice and “Ribbons Down My Back” is a real highlight of the night.

Ben Dunford-Cable has 2 of the best songs with “Put on Your Sunday Clothes” and “It Only Takes a Moment” which he sings with a lot of charm along with Jake Shelley who is his sidekick Barnaby Tucker. The choreography by Stephanie Cole fills the stage with movement and it goes from ballroom to Broadway numbers and the cast was able to keep up with everything quite well.

The costumes by Kaely Hope are also very impressive. In particular the period accurate hats add so much to the personality of each character- especially for Molloy who runs a millinery shop, so it’s kind of essential she has great hats.

Often the Valentine theatre they are performing in has sound issues but luckily my night everything ran without a hitch. Hopefully you’ll have such luck. Hello Dolly at Timp is a family-friendly show that anyone who enjoys song and dance will enjoy. It is playing through Feb 14th and tickets can be purchased here.

Hello Dolly has music and lyrics by Jerry Herman with a book by Michael Stewart based on the The Matchmaker by Thornton Wilder. IT first premiered on Broadway in 1964 and it has had 4 revivals the most recent 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.