-
EAGLE MOUNTAIN MAKES ‘PRIDE AND PREJUDICE’ A COMMUNITY AFFAIR (REVIEW)
I don’t think it’s a big secret that I am a huge Jane Austen fan so I was thrilled when I was invited to watch a new production of Pride and Prejudice at new to me Eagle Mountain Community Theatre in Eagle Mountain. This was especially fun because it is the Andrew Davies version of the play and as he did the iconic 1995 miniseries version of this story I was very curious to see it in play form.
I recently had the chance to interview 2 local Austen playwrights which was super fun (see above.) This production at Eagle Mountain was also unique because it was at an elementary school and this did provide some challenges for the cast and crew. The stage sits on the side of a gymnasium making the space very echoey and difficult to move from scene to scene. However, director Jerid Clark and their team pushed through and prevailed with a fun take on the classic story.
The biggest strength to this production is the cast. I have never seen a bald Darcy but Brigham Jenkins brings the awkward energy that has become the popular way of portraying the character. Rachel Lundberg is commanding as Lizzy and when The Ruth does their upcoming Pride and Prejudice I hope she is a serious contender for the role. Meg McCoy as Mrs Bennet and Cimony Carter as Lady Catherine De Bourgh are also standouts.
Unlike his miniseries, this play version by Davies clips along quite quickly especially in the second act but lovers of the story certainly get enough for them to fill in the details. At Eagle Mountain they use a combination of projections and handmade sets (Rochelle Rackliffe and Elizabeth Ellis) to take us through the many events of the novel. There was also obvious care put into the costumes, especially Lady Catherine’s dress by Elizabeth Mashburn. They also have musical interludes from Eagle Mountain Symphony Quartet, which was a nice touch.
As you can tell from my description, Pride and Prejudice at Eagle Mountain was a true community event with everyone putting forth their best efforts, which I thoroughly enjoyed. Unfortunately it was only last weekend so I saw the final show, but I will definitely attend shows in the future. You can find more information 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 like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
UTAH THEATRE LOG 4/12-4/27 (AMELIE, LEGALLY BLONDE) (RACHEL’S THEATRE LOG 128)
Hi friends! I hope you are all doing well. I have been mad busy as usual and most of the shows I’ve been seeing have been full reviews (which is amazing) but I have 2 logged shows to talk about today. Also if you missed it I had the chance to interview Victor Hamburger about the upcoming 2025-2026 Eccles National Tour season. This interview is only 7 minutes so well worth your time:
That said here are my 2 recent logs. (For those new to the site logs are for shows I pay for out of pocket and are not full reviews.)
AMELIE- RIVERTON HIGH SCHOOL DRAMA, RIVERTON
When I saw that Riverton High School was putting on Amélie: The Musical (High School Edition) I was intrigued because I had heard about the show but never seen it. This production is also in a black box which you don’t normally see with high school, so that was a neat experience to watch.
Directed by Clin Eaton Amélie at RHS gives students the chance to perform in a more intimate environment and learn to project properly without microphones. What an incredible skill to give your students and one that will help them greatly in their careers whether they are microphoned up or not. There were times when they didn’t project enough but I didn’t mind because it’s all part of the learning experience. The choreography and amount of kids involved in the production especially in a black box is impressive.
I also appreciate how many students were involved especially for a black box. Avery Rindlisbach plays adult Amélie well capturing the introverted quality of the character convincingly. Carter Reid also has a beautiful voice as Nino. All of the leads appear to be seniors and it’s a testament to this wonderful program to see their talent on stage and I look forward to seeing what they all do going forward on the Utah stage and beyond (their Hadestown was incredible)
In the end I was impressed with the students but underwhelmed with the material they had to work with. I think the problem is Amélie is a movie that charms with vibes and visuals more than the story. It barely has a story with Amélie trying to find the owner of a box of trinkets and learning to have the confidence to embrace life. With such thin story the music and lyrics need to be incredible, and they just aren’t here. “Stay” is probably the highlight of the show but it didn’t do much for me as far as a memorable musical.
If you are curious to see this show and to support the students Amélie at RHS has one more showing tomorrow Tickets can be purchased in the front office or at the door. More information on their instagram.
LEGALLY BLONDE- HERITAGE THEATRE, PERRY UTAH
I will just have a few quick thoughts on the Bruiser Cast of Legally Blonde: The Musical at Heritage Theatre in Perry. I already reviewed the production’s Rufus Cast here. The Bruiser cast is almost the same except for the 3 leads- Hannah Atkinson as Elle, Zackery George as Emmett, and Jess Tarbet as Paulette. Atkinson leans into the bubbly youthful energy of Elle and George brings a nerdy approach to Emmett which is accurate to the character. Tarbet is hilarious as Paulette and Luke Merkley steals the show as hot UPS man Kyle. Very funny. Ryan Boam quite possibly has the best voice of the cast as the smarmy Callahan (he makes for a great villain in ‘Blood in the Water’)
They could still work on the music volume levels but they fixed the costume problem of opening night so that’s good. I would recommend they tone down the amount of blush they had on Elle. Other than that everything else went off without a hitch.
Legally Blonde: The Musical is frankly a show that is tough to screw up. It’s just so overall entertaining and neither cast gets it wrong at Heritage. Whichever one you see I’m confident you’ll have a great time (unless you’re a content-complaining Karen. See above.) It is playing through May 10th and tickets can be purchased here.
Amélie: the Musical has music by Daniel Messé with lyrics by Messé and Nathan Tysen. Book by Craig Lucas. Legally Blonde: The Musical has music and lyrics by Nell Benjamin and Laurence O’Keefe with a book by Heather Hach.
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. -
READY TO MAKE A JOYFUL NOISE FOR ‘BAT BOY’ AT SLAC (REVIEW)
When I first heard about Bat Boy: The Musical at Salt Lake Acting Company I initially dismissed it. SLAC does a lot of broad comedy parody which is just not my thing but then I heard some positive reactions from people so I decided to give it a shot, and I’m so glad I did. Going in knowing absolutely nothing about this musical I walked away blown away by everything I saw and experienced.
I think the easiest comparison to Bat Boy is another off broadway legendary show Little Shop of Horrors. They both have campy horror themed vibes and speak to similar themes of humanity and love. The show starts off in a cave beautifully created by set designer Jesse Portillo. It almost felt like I was entering a dark ride at Disneyland and about to enter the world of the cave. The sound design by Joe Killian also gives that immersive vibes for the cave and even the microphoning of the actors in the cave scene felt different with more of an echo than the rest of the night’s vocals.
This production at SLAC is directed by Eric Sciotto and he has managed to get the best from his cast with a very strong ensemble often taking on multiple roles in the same scene (even switching off genders within a scene.) All the leads are professional quality one expects from SLAC with Julian R Decker putting in a masterful performance in the title role as Bat Boy. Adrien Swenson is also perfect as the seemingly traditional mother Meredith who has an unexpected bond with Bat Boy. I also loved the whole revival sequence with “A Joyful Noise” sung by Reverend Hightower played by Chris Curlett (so much is happening in that sequence plus it’s a terrific song!)
I was definitely caught off guard with how much I enjoyed the songs but I really shouldn’t have been given it has music and lyrics by Laurence O’Keefe who also penned Legally Blonde and Heathers: the Musical– both musicals I love. He knows how to craft heartfelt, funny musicals that are just plain entertaining. I will never doubt him again! The book is by Keythe Farley and Brian Flemming.
I honestly have very few notes for Bat Boy at SLAC. It was fantastic, and I can’t recommend it more highly. It is playing through May 4th and 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 like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
OMG YOU GUYS! ‘LEGALLY BLONDE’ IS GREAT AT HERITAGE (REVIEW)
One of the slightly unfair parts of theatre criticism is there are just some shows I like better than others. I still try and be as objective as possible when looking at any piece of theatre or film but I’m still human and have my preferences. One of my favorites is definitely Legally Blonde: The Musical. Over the years there have been so many movies turned into Broadway musicals and outside of Hairspray, Legally Blonde is the best. I absolutely adore it and the new production at Heritage Theatre in Perry does Elle and her story proud. Definitely take the time to see it if you are anywhere nearby.
If you didn’t know Legally Blonde tells the story of Elle Woods- the fashion merchandising student who ends up at Harvard Law School to try and win back her boyfriend after she is dumped by him. At Heritage I saw the Rufus cast (the casts are the same except for the 3 leads Elle, Emmett and Paulette) with Janelle Wiser playing Elle, Tyler O’Bagy as Emmett and Casie Littlefield as Paulette. All 3 are a ton of fun in their roles and Wiser and O’Bagy have a nice chemistry as our lead couple. Wiser brings the warmth and bubbly energy one needs for Elle and she makes her easy to root for.
This production is directed by Mike and Lindy Combe and they have done a great job getting the most out of each of their castmembers. It’s not perfect but a charming piece of community theater. I think what I like most about Legally Blonde as a musical is how positive and truly funny it is. It makes it completely rewatchable. If I can find the time to drive up to Perry (over an hour drive for me) I may even come back and see the other cast.
One of the most impressive aspects of Legally Blonde at Heritage is the hand-painted sets by Jess Tarbet. The last few times I’ve seen this show it has been primarily projection sets which is fine but I love hand-painted sets. Maybe it’s nostalgia talking but it just adds to the creativity of a production. They even have an RV background for the scene when they get Rufus from Dewey and that is only in the show for a few minutes. I thought they would at least do a projection for that scene but they didn’t.
The costumes are mostly great by Amber Beecher especially on the Greek chorus in their various color-coordinated looks. The only exception is Elle’s bunny outfit either didn’t fit Wiser right or the fabric is too slippery because it kept getting lower and lower to the point I was worried she might have a wardrobe malfunction. She didn’t but that’s something they could work on for the next show.
There are also times the sound-mix wasn’t quite right and the music overwhelmed the actors but again that’s something they can keep working on throughout the run of the show. Other than that Legally Blonde: the Musical at Heritage is a charming piece of community theatre. It does have some mature content (pg13ish) but if you are in the area I definitely recommend giving this pink underdog of a show a chance. It is playing through May 10th and tickets can be purchased here.
Legally Blonde: the Musical has music and lyrics by Laurence O’Keefe and Nell Benjamin with a book by Heather Hach. Based on the novel by Amanda Brown and the MGM film (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.
-
‘THE BOYS NEXT DOOR’ PULLS OFF A TRICKY BALANCING ACT AT PG PLAYERS (REVIEW)
It’s always a tricky thing whenever a play or musical is portraying a marginalized group especially if that group is not the one creating or authoring the production. With their play The Boys Next Door the good folks at PG Players are faced with this challenge in portraying those with mental handicaps and disabilities, and I’d say for the most part they succeed. While not perfect, The Boys Next Door is overall a warm and endearing portrait of an often ignored group without turning them into the inspiration porn we sometimes see.
Set in the 1980s The Boys Next Door tells the story of 4 men with differing mental disabilities that live in a group home in the Boston area. The men are helped by a social worker named Jack (Matthew DelaFuente) who is genuinely friends with the men even if he does become exasperated with them on occasion. For the most part, the first act is a comedy with the men getting into varying shenanigans like accidently flushing the neighbors hamster down the toilet and trying to impress the girls at the local dance.
In Act 2 things get more serious particularly for a character named Barry (Harrison Kaylor) who is the subject of abuse and trauma that is tough to watch. Anxiety-ridden Arnold (Dennis Purdie) is also the victim of bullying at work, a situation that is not really tied up in a bow which I appreciated for its realism.
The biggest issue with The Boys Next Door is one of pacing. This play would be so much better at a good 90 minute runtime but it goes on for 2 1/2 hours. It’s hard to maintain the momentum and not run into caricature with such a long play. It’s like playwright Tom Griffin is asking for trouble. I also didn’t love having Jack speak for the men in long diatribes in-between scenes. These are grown men and we don’t need an able-bodied person to narrate their struggles to us. We see it on the stage.
That said, directors Howard and Kathryn Little have taken imperfect material and put together a meaningful experience. The cast has a nice chemistry together and one can easily tell the performances come from a place of advocacy and compassion. They even have a section of the program ‘Notes from Friends About Living with Neurodiversity and Mental Health Challenges.’ This did not go unnoticed by me and was greatly appreciated.
The acting is all excellent with Purdie giving his 53rd production with PG Players. He has played the role of Arnold before and one can sense his experience and comfort-level with the character. Delafuente is one of the best actors working in amateur theatre in Utah, and he is terrific as Jack even full-on crying at a scene in Act 2. Kaylor is also quite devastating as Barry. You’d never guess in a tiny theater in a library to get this good of performances.
Even with its flaws The Boys Next Door is worthy of your time and certainly the good folks at PG Players are. If you haven’t discovered this gem of Utah County what are you waiting for? It is playing through May 12th and 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 like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
-
‘WICKED’ NATIONAL TOUR IS THE SPECTACLE ENTERTAINMENT THAT’S MADE IT SO POPULAR (REVIEW)
Writing a review for the national tour of Wicked seems almost like an exercise in futility. With the musical’s incredible popularity has anyone not made up their mind whether to see or not see this show? Nevertheless, that is the task assigned to me, so I will do my best to fulfill it.
If you have been living under a rock Wicked is the incredibly popular musical first produced in 2003 on Broadway and still running to this day. Part 1 of the feature film debuted last year to huge success and now the national tour is going to be in Salt Lake for 6 weeks, which is pretty remarkable (Life of Pi in contrast was here for 4 days!)
In some ways I resent Wicked and its success because it started this horrible trend of both the ‘fresh take’ on a fairytale (which is usually remarkably unfresh see recent Snow White for example) but also the humanizing of classic villains which often leaves them bland and personality-less (I’m talking to you Maleficent.) It feels like we can’t even have villains any more. They are all surprise villains (thanks to Frozen) or really not so bad after all. Groan. While it can be valuable to find the humanity in evil it also can lead to a sameness in storytelling that can be frustrating and lead to a moral neutering of our heroes and their heroic journey (ie if Dorothy isn’t facing off a great evil than where’s her bravery in just walking through the forest to get a broomstick from a nice lady?)
Anyway, it’s no surprise that everyone would want to copy Wicked after its success but that doesn’t mean the original is not of value and very entertaining. Surprisingly I have actually only seen the stage musical of Wicked once before in 2006. My Elphaba was Ana Gasteyer believe it or not and my Galinda was Kate Reindeers. It was a blast and every bit the spectacle entertainment with the great songs I was hoping or.
I interviewed Company manager Steve Quinn prior to the Wicked national tour The spectacle entertainment is really the reason to see the national tour of Wicked. It’s a grand big show with lots of bright lights and big colors- everything you could want from a production of this musical. This iteration is directed by Joe Mantello and its probably boldest move is casting Lauren Samuels and Austen Danielle Bohmer in our two leads as Elphaba and Galinda respectively. They are both very talented singers but with Samuels being the more petite of the 2 (by 4 inches) it defies casting stereotypes as usually Galinda is the smaller of the actors. I enjoyed this dynamic because it helped make Elphaba into more of an underdog in the scenes at Shiz and even in her interactions with Galinda (Kristin Chenoweth, who premiered the role of Galinda is only 4’11” to Idina Menzel’s Elpheba at 5’6”). Fortunately both Samuels and Bohmer are up the task of the singing with challenging songs like “Defying Gravity,” “For Good,” “Popular” and “The Wizard and I.”
The ensemble in the national tour of Wicked is also mostly solid although I felt underwhelmed by Blame Hammond’s Wizard. He could have leaned into the camp of the role a little more and supported his singing better (although he does have two of the weakest songs of the musical in “A Sentimental Man” and “Wonderful.”) Aymee Garcia, on the other hand, gave me everything I could want in a Madame Morrible. Dripping with disdain and disgust for all around her. She stole every scene she is in. I also enjoyed Xavier McKinnon’s swoony take on Fiyero and his confidence in songs like “Dancing Through Life.”
Like I said, the spectacle entertainment is everything fans could hope for with the national tour. I do think the first Act of Wicked is much stronger than the second but it’s still satisfying and certainly gives us enough catchy songs to make for an entertaining night of theatre. Certainly seeing a show like Wicked is a chance to get children excited about musical theatre and that’s why I most encourage families to go and see this show while it is at Eccles for 6 weeks. Particularly your girls will be talking about if for weeks and they just may be inspired to audition for their local community musicals. Popular shows like Wicked have that ability to speak to new musical fans like Les Miserables or The Little Mermaid did for me as a young person and that is important and valuable. So go see Wicked while you have the chance and take the whole family. It is playing May 25th and tickets can be purchased here.
Wicked is a musical with music and lyrics by Stephen Schwartz and a book by Winnie Holzman based on the novel by Gregory Maguire.
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.
-
TEENS AND ‘GREASE’ GO TOGETHER PERFECTLY AT HOPEBOX (REVIEW)
I always love a chance I get to support teens and high school theater. Maybe it’s because that’s the only time I have ever acted in productions is high school (and it was such a positive experience) but I love supporting the students in any way I can. Plus, the teen productions in Utah are so good that it hardly seems like a hard task to review their work. This week I had the chance to see teens put on Grease: High School Edition and it was a really fun night of theater. The young people should be very proud and I’m glad Hopebox gave them this opportunity.
In so many ways Grease is a perfect choice for a high school or teen production. Most obviously it is set in a high school and is about teenagers and even though it is set in the 50s a lot of the issues the characters at Rydell High are dealing with are still faced by teens today: Fitting in, being the new kid, falling in love, what are you going to do with your life, dealing with adults etc. This high school edition does tone some of the darker themes down (such as Rizzo thinking she’s pregnant) but it’s still more real than sometimes given credit for as a show.
The production at Hopebox is directed by Wyatt Welch, and he has cultivated a nice chemistry among his teen actors and given them all choreography and moments to shine, which is what I like to see in a high school production. They also have a bright jukebox diner inspired set by Curtis Dalton and props that moved and transformed with ease. I particularly admired a car they put together in pieces for “Grease Lightnin’ and then they used it again for a very clever drive-in setup before Danny sings ‘Sandy.’ They even have a make-shift movie screen with clips of James Dean and other 1950’s films. One doesn’t expect those kind of details from a production like this. (The costumes by Livvy Noonchester are also really impressive.)
While the leads are good, it was the ensemble members that stood out most in this show. I saw the Silver cast but Grant Sorensen plays Eugene/Teen Angel in both casts and he is really terrific as both the nerd and singing star. Emery Andrus is a standout as Marty doing a very good ‘Freddy, My Love’ and Clara Gittins and Caden Carver are fantastic as Jan and Sonny respectively. Avery Koford is probably the best singer of the group as Rizzo in ‘Look at Me, I’m Sandra Dee.’
Everything went off pretty smoothly the night I saw Grease at Hopebox. There were a few odd lighting choices where the spotlight moved around too much and the characters were left in the dark for too long but nothing too distracting. Hopebox does have a wonderful mission and the high school shows are no exception. This production is donating to a high school senior Afu Fiefia who is undergoing chemo treatments currently. What a wonderful purpose making a night of entertainment even better and more impactful. Grease: High School Edition is playing through April 26th and tickets can be purchased here.
Grease has music, lyrics and book by Jim Jacobs and Warren Casey
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.
ps. I used to think Grease was too outdated but a few years ago I had a change of heart about it. See my review
-
‘A CHORUS LINE’ AT WVA IS ONE SHOW NOT TO BE MISSED DESPITE A CHALLENGING STAGE (REVIEW)
It’s funny. I would never call A Chorus Line underrated as it is a classic of musical theatre, but I do feel like it isn’t mentioned as much as it should be in discussions of the greatest shows of all time. It’s certainly one of my favorites. I love how honest and authentic it feels. Written in 1975 based on interviews done of Broadway chorus members it feels like something that could be released new now and not feel outdated one bit. West Valley Arts is putting on this landmark show and while their theater-in-the-round does cause some challenges it is still well worth your time.
If you are unfamiliar with A Chorus Line it takes a group of dancers auditioning for a chorus role in a Broadway show and tells their individual stories (again based on real interviews.) There isn’t a traditional plot like we usually have in musicals but is more of a what we call in the film world ‘slice of life’ narrative. We as the audience are a fly on the wall watching these people audition and learning about their life.
It is this voyeuristic aspect of this show that make many of co-director/choreographers Izzy Arrieta and Ben Roeling’s choices so brilliant. I particularly loved having director in the show Zach (Joseph Spear) mostly a voice from above calling out orders to our dancers. In many ways Zach is us and speaks for the audience making when he does step on to the stage extra impactful.
Another effective directorial moment is the opening number “I Hope I Get It” we are introduced to each character with the actors holding up their headshots to Zach’s voice from above but again it made it feel like they were each auditioning for us and we were going to be the ones judging them worthy or not.
The casting for this production of A Chorus Line is across the board outstanding. I would challenge any non-equity theater across the nation to produce such an incredibly talented group of dancers, actors and singers. It’s hard to pick a favorite because they are all impressive but Angel Martinez as Paul (I honestly believe Paul’s Act 2 monologue to be one of the most stirring monologues in musical theatre history and he performs it with heart and soul), Heather White as the jaded Sheila, and Annie Jones as the tone-deaf but very funny Kristine are the standouts.
It being an audition environment the sets and costuming are simple so it’s the performances and the choreography by Arrieta and Roeling that give the production its flavor. I love how each performer has unique choreography while all still working together to make the iconic kicklines of the show. Again, we are put in the position of Zach and can see who he should and should not pick.
The problem with WVA is that the theater-in-the-round setup is a challenging space for A Chorus Line. I wish the directors had used the aisles and the platforms around the stage for some of the solos to stretch things out into the audience. It is a reality of this stage that some of the time the performers will be facing away from us as an audience. This is a major barrier for A Chorus Line because we can’t see what the dancers are doing. We can’t look into their faces and see their expressions. I wish I could lift this cast and choreography onto a traditional stage so I could see what was happening at all times. There are times when theater-in-the-round is an advantage making the audience surrounded by the experience but for A Chorus Line where there so often is a literal line of actors it’s problematic.
That said, I don’t think this downside is enough to throw off the many positives in A Chorus Line at WVA. It’s a stirring look into the lives of performers and just people with their hopes and dreams. Plus, there are some terrific tunes and dance sequences well performed. A Chorus Line is playing at WVA through May 3rd and tickets can be purchased here. Don’t be the one to miss out!
A Chorus Line features music by Marvin Hamlisch, lyrics by Edward Kieban and a book by James Kirkwood Jr and Nicholas Dante.
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.
-
‘YOU’RE A GOOD MAN, CHARLIE BROWN’ AT COVEY TAKES A FRESH LOOK AT CLASSIC BY GOING SENIOR
Last year I saw a production of You’re a Good Man, Charlie Brown and was honestly underwhelmed with the material. It wasn’t bad but not as funny or endearing as I was expecting. I think I was anticipating a laugh riot similar to Spelling Bee (which of course was much later but a similar dynamic) and it’s just not that kind of show. Still I didn’t have a great desire to see it again but then Covey Center for the Arts in Provo announced they were doing a special revised version of the material and I was intrigued. The new production of You’re a Good Man, Charlie Brown takes the show and makes slight alterations but has it cast with senior citizen actors giving the musical a whole new level of heart and soul. I really loved this production and I hope readers make time in their schedule to see it.
This season at The Covey they’ve been doing a terrific job of using the black box stage to its advantage. Whether it’s the creepy closeness of Woman in Black or the cramped apartment of Barefoot in the Park. Now for Charlie Brown director Heidi Mendez with scenic designer Robert Sealy have recreated the iconic Peanuts world to create an immersive experience. Of course they have Snoopy’s iconic red house but also a background box that turns from a mantlepiece to a sofa with ease. Jessica Moody has also recreated our team’s signature looks with adorable costumes.
The cast is drawn from some of Utah’s most well known theatre and screen stars with James Arlington leading things off as Charlie Brown. He is very endearing in the role and captures Charlie’s signature melancholy disposition as he tries to impress the red-headed girl and make friends. Peggy Matheson gets the best song of the night with “My New Philosophy” and Jayne Luke is hilarious as Snoopy (you can tell she is having a ball playing a dog at her age!)
Naturally as this show is about children much of the dialogue is about growing up so it’s an interesting experience to hear those kids-lines spoken by older actors. For example, when Charlie Brown says “I wonder if anyone would even notice if I got out of bed today.” That line rings different said by a senior citizen who is more likely to be under-visited and left alone. When Charlie see’s Snoopy getting more valentines than he did one can’t help but think of nursing home residents with little to no mail or signs of love from loved ones.
I honestly think one would have to be really cynical to not enjoy Covey’s You’re a Good Man, Charlie Brown. I did find the whole marketing push of it being a reunion to be a little confusing as the actors had never done it before but whatever. It’s so endearing and fun you can’t help but be charmed by the evening of fun. Plus, it’s not that long so you don’t go home fatigued. You’re a Good Man Charlie Brown plays through May 3rd and tickets can be purchased here. Take the whole family. You’ll have a blast!
You’re a Good Man, Charlie Brown has music and lyrics by Clark Gesner with a book by John Gordon and a 1999 revision by Andrew Lippa
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.
-
UTAH THEATRE LOG 3/30-4/11 (JERSEY BOYS, RIDE THE CYCLONE) (RACHEL’S THEATRE LOG 120)
Hi friends! I hope you are doing well and having a great time enjoying community theatre near you. I have 2 shows to do my quick logs for you tonight. These logs are my thoughts on shows I saw as a patron not as a formal critic. I would love to review as many local shows as possible so if you are interested contact me on social media or at rachelsreviews65@gmail.com and we can get that set up.
JERSEY BOYS- THE RUTH, PLEASANT GROVE
First up we have Jersey Boys at The Ruth. This is the iconic jukebox musical about Frankie Valli and The Four Seasons that set the standard for this type of biographical jukebox musical. I really enjoyed a production I saw at Pioneer Theatre last Fall but that was the full version whereas this is the edited version, which I didn’t like as much. Nevertheless, I actually do think it was a bold show for the Ruth to pick and I was alarmed at how many empty seats there were the night I was in attendance.
Despite lacking the edge to make it feel more authentic this is still an entertaining night of theatre. I particularly think the second act of Jersey Boys is effective. I love the sense of humor it has (jukebox musicals can be overly serious sometimes when showing us these people’s dramatic lives.) This production at The Ruth is directed by David Morgan and the 4 men have a nice chemistry together with nice harmonies for the many songs they are required to sing. It took me a bit to warm up to Kristian Huff as Frankie Valli and his version of the falsetto but it grew on me. Brock Dalgleish plays Tommy, David Matthew Smith is Bob and Bronson Dameron is Nick the night I was there. They are all excellent in their roles and in the harmonies together. I also really liked The Angels when they sang “My Boyfriend’s Back”
The set by Danny Rash moves easily between the different time periods. The lighting by Michael Gray is immersive and colorful and overall the whole thing went off without a hitch. Jersey Boys is playing until May 10th and tickets can be purchased here. If any of you have seen the authentic vs the cleaned up version let me know which one you prefer?
RIDE THE CYCLONE- WESTMINSTER UNIVERSITY, SALT LAKE
I had honestly never heard of the musical Ride the Cyclone before but I always like to try out new shows so when I saw it was playing at local Westminster University I decided to give it a shot. While in the end it wasn’t a show for me I always love supporting the students and their efforts.
The setup for this musical is fairly simple. A tragic accident in an amusement park has 7 teens to the afterlife and now they must decide which one of them deserves a chance back at earth. This reminded me of many other shows like Beetlejuice, Assassins, Our Town and even Cats. Each character gets their own segment and the actors are all talented and charismatic. The highlight is Jane Doe played by Chloe Mizantzidi who goes from belt to opera with ease in her “The Ballad of Jane Doe” number.
In a way my problem with Ride the Cyclone is a little unfair. The night I attended was sold out, which is great, but the boisterous crowd was ready to laugh at seemingly anything. Don’t get me wrong there are some chuckles but the show is also trying to say something about life and death and the laughter from the audience seemed to not appreciate those more thoughtful moments. As the night continued I became increasingly annoyed as it was clear those around me had come to cheer on their friends and not see a piece of theatre. I felt like I could barely appreciate the dialogue that was actually funny because I was distracted trying to figure out why people were laughing at a sad story being told. By the end, I was so annoyed that I was eager for it to be over and ready to head home.
This production of Ride the Cyclone is directed by Mark Fossen and has an incredible set design by Spencer Potter. The final performance is tomorrow 4/12 and tickets can be purchased here.
Jersey Boys features a book by Marshall Brickman and Rick Elice featuring music by Frankie Valli and the Four Seasons. Ride the Cyclone has music, lyrics and book by Jacob Richmond and Brooke Maxwell.
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.
Rachel Reviews Theatre 