I am pretty confident mine will be the first review for Tuacahn Ampitheatre’s new production of the classic musical Grease. I can say that because they were kind enough to allow me to review a preview performance of the show so I could fit it into my Southern Utah trip in July. Thank you to Tuacahn for being so accommodating and supportive (they are also letting me record my show Friday Flicks there which I am very grateful for.) Obviously some changes may be made after previews but hopefully any critiques I have will be seen as helpful to the show’s success more than anything else. Truth is I really enjoyed this bubbly piece of escapist entertainment especially the dynamic and exciting dance choreography.

Grease is of course a well-loved musical about kids in the 1950s and in particular Sandy and Danny who fall in love over a summer but find high school dynamics more perilous. Some have claimed Grease is outdated an sexist and I actually bought into this idea for a while but I’ve come to rethink these takes. Sandy doesn’t change because she has to in order to get her man. He has already joined the track team and is wearing a letterman’s jacket (ultimate uncool for the Burger Palace Boys.) He’s already changed for her. She is tired of being judgmental and conservative so SHE decides to change and asks Frenchy for help. Isn’t that what feminism is all about? Giving women options and the ability to chose to be whomever they want to be?

Anyway, back to Tuacahn my favorite aspect of this production is the dancing and it being Grease there’s a lot of dancing. The show is directed by Aaron DeJesus and choreographed by Candi Boyd and they do a great job of filling the large stage with movement. And not only that but there is variety to the movement. Especially in the school dance songs like “Born to Hand Jive” and “Shakin at the High School Hop” every couple has a unique set of choreography making it very fun and exciting to watch.

The cast is also across the board strong with Christian Tyler Dorey stealing the show as Teen Angel/ Johnny Casino. None of these performers look like high school students in the least but that’s basically the grand tradition of Grease at this point. Kyle Southern and Malia Monk have sweet chemistry as Danny and Sandy respectively. I also thought Mary Savocchia and Sittichai Chaiyahat are a hoot as Jan and Roger. The costumes by Julie Thiry are another highlight. I appreciate they actually feel like clothes from the time instead of over-the-top costumes we often see (except for Teen Angel obviously.) My only small gripe with the costumes was having Sandy in jeans for “Hopelessly Devoted to You” seems like a strange choice. Of course, in the movie she’s in her nightgown for that song but jeans seem quite forward for that character at that point in her story. I know it’s hot, but I’d have the students wear their club jacks more because especially with the boys there doesn’t feel much contrast between them and Danny when he’s wearing the letterman’s jacket at the end.

I also think it’s surprising to have Rizzo, Sandy, Marty and Patty all with blonde hair. I guess there’s no reason particularly Rizzo can’t have blonde hair I’m just used to seeing her styled very differently than Sandy. Rizzo is played by Julianne Roberts and she has a terrific edgy singing voice perfect for the character. I was surprised they didn’t have Frenchy played by Kelsey Lee Smith have pink hair before “Beauty School Dropout.” They change it to brown (or at least that’s how it appeared to the audience) over the course of the song but it’s funnier with the pink hair. That said I enjoyed Dorey so much as Teen Angel it didn’t matter.

Seeing a classic show like Grease under the starry sky with a crowd is such a fun experience. In a lot of ways it feels like a perfect show for summer. I love hearing classic songs like “You’re the One that I want” and “Summer Nights.” Fortunately you have a while to see it at Tuacahn with it playing through October 22nd. Go and have a great time with this rock and roll party show. Tickets can be purchased here.

Grease has music, lyrics and book by Jim Jacobs and Warren Casey. It first premiered in Chicago in 1971 (I interviewed Marilu Henner who was in that debut cast here) and then on Broadway in 1972. It has been revived many times. The feature film was released in 1972 and is one of the most successful filmed musicals ever.

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.

Frequently my readers and friends will be shocked with how many times I have seen certain musicals and plays. While I know I have a unique disposition to tolerate repetition what shocks me is how brilliant creative directors find new ways to present the material so it doesn’t feel like I am seeing the same show over and over again. This was no more the case than at the current production of Hadestown: Teen Edition I saw over at The Ruth. With their creative choices they take something which could feel expected and bring new life into it- or should I say new afterlife?

I would say The Ruth in general has carved a cool niche for themselves in the Northern Utah theatre scene by being the home for great and innovative dance choreography. Whether their main stage or teen performances I am always blown away by the stunning use of dance in their shows. This production of Hadestown is no different. It has many strengths but the true standout is the choreography choices by director Brighton Sloan and choreographer Amelia Rose Moore.

I especially loved the decision to have both a singing and dancing Hades and Persephone. I have never seen those characters portrayed this way. Sometimes we’d even have the singers watching the dancers as if the movement was helping them absorb the moment and internalize what is happening. I saw the TThS cast and it had Cannon Hadfield and Layleigh Stone in the singing roles and Katelyn Lee and Kerby Grob in the dancing. This combination of music and dance is worth seeing this production alone for. Truly stunning. I also found Hadfield’s acting to be particularly strong and he brought a devastating layer to Hades one doesn’t always see (and was good at hitting those low notes as well.)

It is also very smart for them to stage Hadestown now because they can use the Once on this Island set which is perfect for the New Orleans beaten down vibe of this musical. Literally all they needed to do was remove the sand/water and add a couple of signs (scenic designer Carter Thompson.) Probably because they are double cast they have a smaller ensemble of 12 (I’ve seen as many as 40 in some teen productions) but as they frequently go into the aisles it did not feel small. All the leads are excellent and I honestly have come to appreciate Hadestown more as a teen show over the years- Orpheus (Tayson Simons) and Eurydice’s (Jacey Lee Robbins) story just rings more truthfully when told through young eyes!

The only critiques I’d offer is they could have used lighting more to create that underworld feel. There is some use of small flickering lights but only one miner light held by Orpheus. Also because of the unusual nature of the stage at The Ruth the final walk of Orpheus and Eurydice out of the afterlife doesn’t feel as epic or engrossing as it sometimes does because some of it was happening behind me or in a cramped space on stage. I’m not sure how you get around that but my gasp wasn’t as big when he turns around as it sometime is.

Still this production of Hadestown: Teen Edition at The Ruth is definitely worthy of your time especially for the dance elements. It would be a great way to introduce young people to musical theatre and this amazing show. It is playing through 7/25 and tickets can be purchased here.

Hadestown has music, lyrics and a book by Anaïs Mitchell based on the greek myth Orpheus and Eurydice. It first premiered on Broadway in 2019 and it is still currently playing. I saw it in 2021.

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.

Whether it be in book, TV movie, miniseries or musical I have always enjoyed the story of The Scarlet Pimpernel. I’m not sure why but it seems to in general be more popular in Utah than other places. The musical I actually think is on the forgettable side as far as the book, music and lyrics but the core story is so much fun I jump for any chance I have to see it. My Dad is also a really big fan particularly of the 1982 TV movie starring Jane Seymour and Ian McKellen.

The latest version of the musical to open is at The Ruth and it is so much fun. They truly seem to have thought of every detail and I recommend getting tickets quickly as Utah audiences are sure to grab those up right away.

If you are new to The Scarlet Pimpernel it tells a fictional account of a group of Englishmen who help save French men and women from the guillotine during the French Revolution. Their cover for this espionage is to pretend to be as fru-fru and stupid as possible making for a fun story that combines adventure, action and humor.

All the shenanigans are led by Percy Blakeney who perhaps puts on the most ridiculous persona of all in order to not be caught. He is played with delicious camp by Jordan Nicholes at The Ruth. I especially enjoyed when he is trying to get under Chase Petersen’s Chauvelin’s skin with lines like “I’m breathtaking” I love a bunch of the performers in the TThS cast so I want to try and see that one as well but this cast is great so you can’t go wrong. Rachel Bigler plays Marguerite St Just and she keeps the accent down well and I like they gave Marguerite things to do instead of just sulking as we often see. There’s even a scene where she joins in on the sword-fighting. The fight choreography by Spencer Hohl across the board is so much fun.

The production in general really elevates the average material to something memorable. It’s a tricky stage at The Ruth because they don’t have a back stage or underground stage or platforms like some of the other nearby stages have to work with. In some ways it’s kind of like a large black box but director David Morgan does all that he can with what he has. I love the choreography at the ball and opening number by Ashley Gardner Carlson. The costumes Lauri Baird are as over-the-top as they’d need to be for our band of merry men (“The Creation of Man” is my favorite song of the musical partly for this reason). I especially loved a red dress Marguerite wears in act 2.

Act II brings up the visual and sound effects to something special (sound design by Tim Riggs and lighting design Ryan Fallis.) In a limited space they are able to create ships sailing, lightning crashing, carriages racing and of course guillotines slicing. The lighting stands out in songs like “Falcon in the Dive” bringing color and emotion to one of the blander songs of the show. Towards the end there is gunshot that even caused several people to jump in their seats it was done so convincingly.

There were a few minor sound gaffes and issues the night I attended but I had a great time with The Scarlet Pimpernel at The Ruth. They have elevated a somewhat mediocre musical into something that feels special and exciting. The entire family will enjoy it. Fortunately it is playing through August 22nd and 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.

One of the highlights of the 2025 theatre year in Utah was the night of theatre at Meanwhile Park. This is a venue set up by Jeff Paris and Alexas Lucero behind their house if you can believe it! It is described as a “small urban backyard in Salt Lake City” and that’s exactly what it is. Several rows of seats are set up and a performance is presented on the patio behind a house. That’s not to say it is a minimalist experience. In fact, the creators have thought of every last detail in making the experience memorable. When you arrive you are presented with a drink menu with cocktails and mocktails included in your purchase price (must be 21 and older to attend.) Then they give snack boxes to enjoy during the play with carefully selected delicious snacks from small artisans that are delicious and go well with the drink.

I honestly can not think of a better date atmosphere than attending Meanwhile Park and seeing A French Toast. I’d see it again if anyone is out there wanting to take me on a date LOL. It’s not only charming but extremely well executed with again an attention to every detail that makes it such a pleasant experience. Even if I didn’t like the play I think I’d still recommend it just for the ambiance alone.

Fortunately I do recommend the play, and I think I actually enjoyed this year’s offering even more than last year. This is saying something since last year I gave it my “Most Memorable Experience” award of 2025. This year’s play A French Toast is a complete delight. Written by Matthew Ivan Bennett it is a 65 minute one act play that follows a mother-daughter pairing as they vacation in France for a family wedding.

The mother, Lucy, is played by April Fossen, who is one of my favorite local actresses. For example, I loved her recently as the mother in Barefoot in the Park over at Parker Theatre. She brings so much warmth to the character of Lucy and Bennett does a great job of portraying a Mormon woman in a mid-life crisis that few local playwrights have been able to capture. I often find the Mormon characters in local plays are either too harsh or too mawkish and childlike- neither which I can relate with. This character of Lucy feels like a real, complicated person that is trying to work out her faith and life as well as she can leaving a messy result in the wake. While it’s a comedy it’s refreshing to feel understood by a character in such a way as I felt with Lucy. I found it quite moving and meaningful amongst all the laughs.

Lucy is in France with her daughter Cassie played by Ali Lente, and they meet Bed and Breakfast owner Gabriel played by Matthew Sincell. Rounding out our cast is Darby Mest as fellow B&B guest Yasmin who becomes a love interest for Cassie. Yasmin is another character I can relate with as she dreams of writing Hallmark movies, which is a shock for the liberal Cassie who is quite judgmental of her mother and anything deemed traditional. Gabriel is also a new kind of man for Lucy than she has ever met before so both women are confronted with something new. This of course is even more impactful in a place as magical as France leading to sweet insight, romance and lots humor. There really is no other way to say it than it is a delightful night of theatre. Enchanted April is probably the easiest comparison for this play as far as the experience one has.

I honestly felt like director Jason Bowcutt and the rest of the team at Meanwhile Park had me in mind with all of their choices. Even Lucy’s wardrobe of dresses by costume designer Dawn McFarland were perfect, and I wish I could purchase all of them! It’s also only 65 minutes so if you were on a date you could do dinner and then see the show and not be out too late. Perfection! And like I said they truly have thought of everything. They even have a playlist of the music playing before and after the play that you can get a code for, and they have Meanwhile Park merch for those interested. I loved everything about it!

It is a small space so make sure you get your tickets now. It is playing through July 19th, and I couldn’t recommend it more highly. Tickets for A French Toast 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.

One of the hard parts of being a regional theatre critic is I usually get to see new shows later than my New York counterparts for obvious reasons. This means by the time the national tours get to me I have heard all kinds of reviews, seen awards given out and sometimes listened to the original cast recordings for the shows. This can leave me over-hyped for some shows (I’m talking to you Kimberly Akimbo) or under-prepared for something I end up really enjoying. Either way I try my best to set expectations aside and give everything I watch as fair a shot as is possible. Anyway, the latest new show to come through Salt Lake is the national tour of Hell’s Kitchen and fortunately it is one that exceeded my expectations.

Going into watching this show it had a bit of an uphill battle for me personally. To begin with, I’m not normally a big jukebox musical fan and I also don’t love a lot of angsty coming of age stories. They can feel one-note and frustrating. Plus I’m not very familiar with Alicia Keys music so I wouldn’t be able to enjoy it just on that level alone. Fortunately Hell’s Kitchen was able to break down all those barriers and provide a captivating night of theater. It just goes to show anything can be entertaining when executed well.

The story of this musical is rather formulaic but it’s what the creators do with that formula that makes it work. The story is semi-autobiographical of Keys life as a 17 year old (called Ali played by Maya Drake) being raised by a single mom in an artistic part of New York City (this mom if she didn’t want her daughter to start playing music might have picked a different building to live in!) Ali becomes introduced to playing the piano by a woman named Liza Jane (played by Roz White.) The minute you meet Liza it is totally obvious what her arc is going to be and that she’s probably not long for this world but again this show is all about the execution not the formula.

I was particularly moved by the character of the mom (named Jersey) played by Kennedy Caughell. She is a character that desperately wants to help her daughter but can’t figure out how besides telling her what she’s doing is a bad idea. In 2 moments of desperation she first calls her ex-love Ali’s father to try to break through to their daughter and then she actually slaps Ali in the face. Both choices are equally useless in actually helping her get her daughter to listen and she becomes more and more frustrated. This all culminates in the most powerful song of the show with “Pawn it All.” Caughell is absolutely riveting throughout this role but especially with that song. Wow! For the most part the father named Davis (Desmond Sean Ellington) is a forgettable character but it’s all about how he gets mom and daughter where they need to be for the story.

The dynamic between Ali and boyfriend Knuck is less compelling (hard to get invested in their love story when he should know she’s a young teen or he should ask more questions!) but it’s a means to an end in furthering the tension between mother and daughter so I was fine with it. Those who are familiar with Keys’ music will enjoy hearing all her greatest hits, but I loved seeing the dancing that accompanied what is happening on stage. This changed from hip-hop style to contemporary to classic Broadway (choreography by Camille A Brown.) I also liked how the set has layers to it with scaffolding and projections all used to create movement and interest in every scene that is happening (Robert Brill set designer.) It creates the feeling of a bustling city with history and music. The production is directed by Michael Greif.

One thing is for sure if you are a teen or are currently a parent of a teen Hell’s Kitchen is a must see. It’s so hard to find material that speaks to that time period in an authentic non-patronizing way and this does. Otherwise if you just enjoy seeing dynamite performances like Caughell gives as the mom you won’t be disappointed. I’d say it is one of the better shows we’ve gotten on tour this year outside of The Phantom of the Opera and it is definitely worthy of your time and money. It is playing through the 12th at Eccles and tickets can be purchased here.

Hell’s Kitchen is a jukebox musical with songs by Alicia Keys so she is credited as the music and lyricist. The book is by Kristoffer Diaz. It first premiered Off-Broadway in 2023 and on Broadway in 2024 where it just closed this February.

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Anyone who has followed my coverage over the years knows I have some mixed feelings about the musical Matilda. In particular the framing device with Matilda telling the story of an escapologist I don’t think works at all; however, what I do think works really works so I never mind seeing it in spite of its flaws. In fact, I recently had the chance to see a wonderful production of Matilda put on at Timpanogos Arts and it’s one I highly recommend for the whole family.

The first exceptional aspect of this production of Matilda you will notice as soon as you enter the Valentine Theater is the professional set design. It looks as good as anything you’d see in any national touring company with a frame of letters surrounding the stage that lit up during different musical numbers. The sets throughout the show are handsomely mounted but also can easily evolve into the school, chokey, and the Wormwood house or any other scene with ease. In addition, off to both sides of the stage are sets that became Matilda’s room, Miss Honey’s house and the Trunchbull’s office, which is a smart use of space. I also don’t think I have ever seen the final chalkboard writing better executed in a Matilda production than the way they do it here. It is seamless. The scenic design is by Kristyan Williams with lighting by Caleb Wallengren, and I hope all of the local companies have both of them on their radars because they are very gifted.

Speaking of the cast, the night I attended was the Blue cast and they are all to be applauded for their chemistry together and great performances. Marie Ashton brings a lot of pluck and a good British accent to the role of Matilda (and gets the Bulgarian right at the end!) with Weston Klemetson delivering strong vocals and acting as Bruce (one of the more underrated roles of the musical in my opinion.) All the adults are also great especially Emma Austin as one of the best Miss Honey actresses I’ve seen. “My House” is such a critical moment of this musical because it shows that sometimes the quiet protest is equally valid if that’s what we are capable of and Austin sings that song powerfully.

If people know this show they know the song “Telly” is actually sung by Mr Wormwood during intermission. This allows the actor to ad-lib a bit and have fun with the audience. The night I attended John Newall picked me for “Telly” to play with and it was very funny all he had to say about my favorite book Pride and Prejudice LOL. He told me after that some people thought I was a plant because it played so well, which is very funny. I definitely wasn’t but it was a highlight of the night. Dani Klappoth is also a real hoot as Mrs Wormwood, and she’s a pretty good ballroom dancer for the song “Loud” (choreography by Alisa Farnsworth.)

My favorite song of the musical is “The Smell of Rebellion,” which is sung by Trunchbull played by Bryson Alley. He plays the role of Trunchbull like a seasoned veteran who has a lot of experience with this character. He’s not really camping it up, which I’ve seen other performers do. He’s a villain in the best kind of way, which is what makes this song in particular so effective.

I honestly don’t know what else one could ask for in a community theater production of Matilda. Sure I wish I could make changes to the actual show but as far as this production it is outstanding and families will have a great time seeing it together (youth and seniors have discounted prices.) It is playing through July 18th and tickets can be purchased 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 love all kinds of theatre- big, small, professional, amateur and everything in between but one of my favorite types is when it can become a true community event and not just an entertaining show. The good folks up at High Valley Arts are some of the best in Northern Utah at creating such an event with their outdoor musicals they have every summer (I’ve actually never been to any of their indoor shows as they are a long drive for me but I should.) I absolutely love sitting under the stars with a community of strangers and seeing the wonderful musicals they have to offer. This year it is The Little Mermaid and it’s a delightful night of community theatre for the whole family.

Outdoor theatre can be challenging especially when they don’t even have a true venue or amphitheater like is the case at High Valley. This makes what director Destry Pollard accomplishes particularly impressive. I attended opening night and everything basically went off without much of a hitch, which again is hard to do an outdoor make-shift environment like they have. They had to have been very happy with how everything turned out.

The most impressive aspect of the production is how they used projections to help add to the staging and storytelling. Sound and projection director Marvin Rust did an excellent job in this area particularly in the finale where Ursula becomes a part of the projections along with giant tentacle props that are also very well designed by props manager Laurie Fitzgerald. The sets by Pllard and Alexia Richins are well done with particularly Ariel’s grotto standing out. It even lights on fire when Triton has his fit and destroys everything.

Olivia Kelson and Dawn Brown also deserve a shout-out for the across the board strong costume design. Ursula’s costume is my favorite but they are all a lot of fun including both the mermaid and human looks for all of Ariel’s sisters (they are the candidates trying out for Eric’s attention at the ball.) I also really liked Sebastian and Flounder’s looks.

The cast at High Valley Arts is led by Sarah Cope as Ariel and she gives you everything one could ask for in a community performance of Ariel. She’s warm and endearing with a lovely singing voice. Russell Nielsen brings lots of personality to Sebastian and Forrest Lee is very funny as the weary Grimsby. The only odd aspect is the inconsistent use of the ensemble. For example, some numbers like “Kiss the Girl” had a large ensemble singing and dancing but then “Positoovity” only had 2 seagulls accompanying Skuttle. That might be a costuming budget decision but it stood out as strange.

Because it’s an outdoor venue it does start rather late at 8:15 which might be a problem for the young kids who The Little Mermaid is made for. All the kids around me seemed to be enjoying it but something to factor in if you have kids. This production is playing until July 20th and it’s definitely worth the drive up to Midway for an entertaining night of community theatre for the whole family. Tickets can be purchased here.

The Little Mermaid has music by Alan Menken and lyrics by Howard Ashman and Glenn Slater with a book by Doug Wright based on the classic story by Hans Christian Andersen and the 1989 animated film

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.

Everyone who has followed my writing knows how much I love the musical Les Misérables. It was the first musical I ever really loved and one that has consistently inspired and entertained me my entire life. That said, my love and nostalgia for it does not mean I will give a weak production a pass. For example, I famously was not a fan of the recent national tour and I said so in the review you can read here. So I went into the production of Les Mis at Tuacahn Amphitheatre with some anticipation but fortunately it did not disappoint. In fact, it was a total triumph. Whether you are a die-hard Les Mis fan or not you’ll agree this is an incredible night of musical theatre.

There are a lot of aspects to praise about this Les Mis production but the most important part is director Sarah Hartmann has found ways to make the material fresh and exciting without feeling self-indulgent or distracting. For example, when the musical opens with the Prologue and “Work Song (Look Down)” they open up the back of the stage to the red rock canyon behind and they have the actors on the rocks acting like miners with pickaxes and shovels. As they sang “Look Down” you could feel the heat of the day and the onerous life experiences for these men. It was a great opening to Les Mis and is something only Tuacahn could offer the piece.

Of course, being Tuacahn the talent is also across the board excellent with David Toole leading the way as Valjean. He has a maturity the character needs and a beautiful tenor voice that is up for the challenging numbers like “Bring Him Home” and “Who Am I?.” Randall Keith is perhaps my favorite of the cast with his commanding performance of Javert. I especially love his rendition of “Stars” and how the large stage fills up with starlight (again something one could only experience in this way at Tuacahn. Love that!) Kelsey Lee Smith is powerful as Eponine with Janna Cardia bringing needed comic relief as Madame Thénardier.

The only miss for me is Zach Berger as Thénardier. While his acting is full of comedic energy he slurs his words together too much and if I hadn’t been so familiar with the songs I might struggle to understand what he is singing. I’m not sure why but there was something about J.T. Wood’s portrayal of Marius that makes him feel particularly lame. It’s not the best written character but especially with Eponine it’s like “dude she is clearly shot and you’re surprised by blood.” My friend called him a “purse boyfriend” which was a new term to me but if it means slightly clueless participatory male figure than the term works.

My favorite moment of the night was probably the greatest directorial risk. During the “Turning” number they have the women place the clothing of the barricade soldiers on the stage. Then during “Empty Chairs at Empty Tables” (which I’ve been annoyed at avante-garde interpretations of this number in the past) the “ghosts” of the soldiers came and took their clothing and then sang with Marius the rest of the song. This is a powerful and surprising way to stage this song and bring home the message of their brave sacrifice. I was also shocked with how they stage both Gavroche and Javert’s deaths.

I enjoyed this production of Les Misérables at Tuacahn so much I am contemplating how I can get back down there and see it again in the coming months. Fortunately it is playing through October 23rd and it’s a show I highly recommend. It has set the bar for Les Mis productions and I’ve seen it 3 times on Broadway. Tickets can be purchased here.

Les Misérables features music by Claude-Michel Schönberg and lyrics by Alain Boublil and Jean-Marc Natel. The book is by Boublil and Schönberg. It is based on the novel of the same name by Victor Hugo which was first published in 1862. It began as a French musical in 1980 and then moved to the West End and to Broadway in 1985 where it won 8 Tony Awards cementing itself as an instant classic. The 10th anniversary concert in 1995 was my obsession as a teen, and one I highly recommend (ad).

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.