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‘BETWEEN THE LINES’ SURPRISES AT THE EMPRESS (REVIEW)
As much as I love seeing the classics of musical theatre it’s also exciting when I get the chance to see something new and fresh. Such was the opportunity I had this week at The Empress Theatre with their new production of Between the Lines. I had never heard of this musical but evidently it had an off-Broadway run back in 2022. While it doesn’t reinvent the wheel I found it to be a charming coming of age story the whole family will enjoy.
While watching Between the Lines I couldn’t help but think of a few other shows that try to do a similar thing. In particular I thought about Freaky Friday which I have also seen at The Empress (among other places.) Both shows are about a mother and daughter and both interweave fantastical elements into a modern story. The problem with Freaky Friday is some of the ideas feel more awkward than effective, and I genuinely think Between the Lines gets the balance of tones right with more effective songs.
The story for this musical revolves around a teen named Delilah who is frustrated at school and dealing with her parents divorce at home. Her escape from these problems is to dive into a novel and in particular fairytale stories with princesses and heroes. Her latest discovery is a book from the library called Between the Lines. As she reads the characters literally come alive for her and one day she even ends up inside the story of the book.
With there being a real and fantastical setting there allows to be a lot of different types of songs with the actors getting to play a variety of roles. For example, Dusti Mulder plays the mean girl Allie McAndrews in real life but then plays Princess Seraphima in the fantasy world. Director Austin Kimbell and his team make these changes come off with ease and the writers of the musical do a great job balancing the various tones. I’m particularly amazed how quickly the actors changed costume and hair for the different roles.
Ashley Bates and Alex Parkin lead the strong cast at the Empress as Delilah and Prince Oliver respectively. Parkin is particularly endearing as our frustrated prince who wants to be free from the confines of his book. The highlight for him singing-wise is “Something to Hold On to” and a nice duet with Delilah “In My Perfect World.” I also really enjoyed a number the librarian Ms Winx (Katelyn Johnson) sings called “Mr Darcy and Me.”
As much as I enjoyed Between the Lines at The Empress I do think it is a long sit and the creators would be smart to give it a good edit. There were also some microphone problems the night I attended but nothing that hurt my overall experience. Some of the actors could work on enunciating better- something particularly important as these are all unfamiliar songs for the audience. At the end of the day I’d say it’s one of the more entertaining shows I’ve seen at The Empress and definitely worth your time. It is playing through March 15th and tickets can be purchased here.
Between the Lines has music and lyrics by Elyssa Samsel & Kate Anderson with a book by Timothy Allen McDonald & Jodi Picoult based on the novel by Jodi Picoult & Samantha van Leer
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.
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‘THE BIG QUIET’ AT PYGMALION HITS CLOSE TO HOME (REVIEW)
We all go into pieces of theatre for different reasons expecting different results. Sometimes it is to be entertained. Other times it is to be informed but sometimes it’s a chance to see our own life experience parroted back to us in the form of fictional characters. Such was my reaction to the new play, The Big Quiet, which premiered at the Rose Wagner Theatre Black Box this week. It was especially poignant because March marks the 20 year anniversary of my return from my mission for The Church of Jesus Christ of Latter-day Saints and those challenging (and rewarding) experiences have been fresh on my mind. It’s hard to know what someone with no experience in the faith would think but if anyone does see it I’d love to hear what you think.
The Big Quiet is written by Morag Shepherd and is based on her own missionary experience set right around the same time I was on my mission. This setting is a smart choice because the missionaries were more isolated at that time not having access to cell phones or the ability to even call their loved ones more than twice a year. It is also smart of Shepherd to go with sister missionaries over elders because the companionship experience is more intense for sisters as is the isolation simply because there are less sisters than elders.
The two missionaries in question are Sister Garcia and Sister Roberts played by Juls Marino and Lily Hilden respectively. They are both excellent in their roles and deliver Shepherd’s biting dialogue in authentic way feeling completely believable even in the more bombastic moments. I also appreciated the attention to detail in the apartment by set designer Allen Smith. Everything from the books, to the pictures of Jesus felt right out of one of my missionary apartments.
The most effective aspect of the play is Shepherd’s writing for the strict sister Sister Roberts. Repeatedly she says “you’re not supposed to____” or “that’s against the rules.” Some might find a young person like Roberts to be hard to believe but she is light compared to what I was like on my mission. I remember agonizing over whether my Christmas phone call to my parents was going to be too long. In fact, my companion wrote her parents telling her she didn’t want to do the call because she was so worried she would go over time. Is that insane? Yes it is but it’s true. I would have literally had a nervous breakdown if I had a companion do any of the things Sister Garcia does.
That does bring me to a weakness of The Big Quiet. While I’m fine with Sister Garcia being a sceptic and facing a faith crisis, I could have used some emotion from her character- especially with the big reveal at the end. Her entire life is changing including losing something she at least at one time believed enough to serve a mission. I think it could have actually been more interesting if Sister Garcia had ended up pushing forward with a mixed testimony and teaching Sister Roberts that faith is complex and nuanced. However, I am also sure that is me bringing my own faith journey into the story. I just think more emotion from Sister Garcia either way would have been good. It would have been nice as well for Sister Roberts to have a couple introspective moments away from Sister Garcia (part of the struggle of a mission is you don’t get any moments away from your companion but still) So little of her obedience feels consensual. She never says “I chose to follow this rule.” It’s always the rule exists therefore we have to follow it.
Nevertheless, Shepherd’s work here is excellent and definitely worthy of your time. The show is directed by Tamera Howell and is playing through March 8th. 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.
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‘LES MISERABLES’ NATIONAL TOUR IS FINE BUT NO MASTER OF THE HOUSE…(REVIEW)
Anyone who has followed my content for any amount of time knows how much I love and adore the musical Les Miserables. I realize it is beloved by many and I am by no means unique in this love but there it is. Les Miserables was the first musical I ever loved and it’s just one of those shows that even a bad rendition is still Les Miserables (I’m talking to you Hollywood movie…) Anyway, I certainly wouldn’t say the current national tour playing at Eccles through March 15th is bad. It has many positive attributes. I do, however, find many of its choices to be misguided and I’ve seen local productions that are significantly better.
The biggest standout of this production of Les Miserables is in the projections by Finn Ross and Fifty-Nine Productions. I know some roll their eyes when they hear projections but this is a case of it being used to enhance the storytelling not detract. The most effective example is when Jean Valjean is saving Marius through the sewer and it really helps transform us to that setting. I also enjoyed most of the performers with Christian Mark Gibbs as Enjolras and Victoria Huston-Elem as Madame Thénardier being the best of the cast.
Because I found Enjolras to be so strong the highlight of the night was “Do You Hear the People Sing?” which is every bit the rousing anthem one wants it to be as is “One Day More” which send us into the intermission inspired and excited. Everything one loves about Les Miserables is here and that will always provide great enjoyment for the viewer.
Now I admit some of my critiques of the night are on the nitpicky side but when you’ve seen a show as many times as I’ve seen Les Miserables that’s to be expected. At the end of the day it’s still Les Miserables, and I still love it flaws and all.
Unfortunately director Laurence Connor and James Powell make some strange choices. The biggest amongst these being having no tables and chairs in “Empty Chairs at Empty Tables.” It would be one thing if it was an experimental production with lots of abstract imagery but it’s not so for the emotional heart of the musical to all the sudden become minimalist is bizarre and distracting.
Other odd choices is having Javert (played by a very good Nick Rehberger) have long flowing hair which looked like out of a 80’s hair band. Also Cosette’s dresses were all too short making it feel like it was the understudy stepping in last minute and not Delaney Guyer in the role. Speaking of Guyer I found her baby-voiced performance for Cosette to be strange and off-putting.
Nick Cartell is good as Jean Valjean particularly in Act II but early on he seemed too young to have been a prisoner for 19 years. He’s too clean shaven and fresh faced to be our weary and bitter parolee. His wig in act II was also a little sloppy and could be better. Another weird performance choice is Matt Crowle as Thénardier. He sounds like he’s Thénardier by way of New Jersey. There were times when it seemed like he was doing a Nathan Lane impression which is very odd for a French innkeeper.
Some of the lighting was also strangely done like in the battle at the barricade that felt more like a rock concert than Les Miserables (although I did like that the gun powder pyrotechnics produced actual smells of real flames.) That is an immersive touch. I also think if you are going to have projections why not have rain projected in “A Little Fall of Rain?” That seems like a missed opportunity!
In the end, Les Miserables is a musical masterpiece and there is much to enjoy in this national tour. If you head over to Eccles you’ll probably have a good time. It’s just got some flaws that kept me from gushing over it. It’s playing through March 15th and tickets can be purchased here.
Les Miserables contains music by Claude-Michel Schönberg, lyrics by Herubet Kretzmer with original text by Alain Boubil and Jean-Marc Natel based on the Victor Hugo novel.
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.
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‘HARRY POTTER AND THE CURSED CHILD: TEEN EDITION’ DELIVERS THE MAGIC AT RIVERTON HIGH (REVIEW)
Last fall I had the chance to see Harry Potter and the Cursed Child: Teen Edition at a local high school and while I was impressed with the teens I did not like the play itself. After this experience I was hesitant to review the play again but when Riverton High School invited me I decided to give it another chance. While still not my favorite play I did like it more this time and was thoroughly impressed with this production.
What I always look out for in a high school production is how many students are involved and is the director getting the most out of those students. Director Clin Eaton and his team at RHS seem to be achieving this in spades as the ensemble is massive and as many students as possible are given lines and moments to act in the play. For example, one of my favorite sections of the play is a long stretch where a ton of the kids perform magic tricks for the audience. Not only did they all excel at their tricks but it makes me happy to see so many students getting their moment to shine.
In my previous review of Cursed Child I mentioned the heavy use of projections over traditional hand-made sets. While this is still the case at RHS I had less of an issue with it as the students were clearly involved in other aspects. I don’t mind projections, but I just don’t want it to be a replacement for the positive experience building sets and painting backgrounds is for teens and the opportunities for more teens to get involved. This production had almost no practical sets but the visual effects in flying, quick costume changes were enough creativity for me to be impressed in these areas.
As far as our cast they all are excellent with Cade Snarr and Carter Reid leading the cast as Scorpius Malfoy and Albus Potter respectively. Other standouts in the large cast are Taya Faragher as Delphi Diggory and Tyler Summer as Harry Potter. The dynamic between Harry and Albus is definitely something that teens and parents of teens will connect with and it is the best part of Jack Thorne’s unwieldly play (I can’t believe it is even longer on Broadway and in other formats!)
Like I said, the visual effects they use at RHS for this production are a ton of fun. In one scene not only are deatheaters flying all around the stage but they came into the audience and even landed on my shoulder. That is a ton of fun and is guaranteed to get young students excited about theatre, which is the whole point of high school theatre. While I saw Cursed Child on its closing night I’d definitely keep an eye out for RHS and what they are producing next because between this and Hadestown (which was maybe the best high school production I’ve seen) they are doing outstanding things at this high school’s drama department.
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.
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‘ANYTHING GOES’ AT SGMT IS DELIGHTFUL (REVIEW)
The second show that I saw on my quick St George trip was Anything Goes at St George Musical Theatre. They were kind enough to let me review the show on closing night and to bring both my aunt and uncle to the show. I wish I could have gotten down there sooner because what a fun piece of community theatre. I will definitely be back and see more of their quality performances.
The truth is I don’t know why more community theaters don’t do Anything Goes. This screwball comedy with music and lyrics by Cole Porter is funny and romantic with lots of ensemble numbers, spaces for choreography and enough leads to give lots of actors experience they might not otherwise get.
The cast at SGMT is led by Brennan Walters as Moonface Martin. He is a real scene stealer and it is obvious the whole cast is feeding off of his energy. I saw the Porter cast so Shellie Thomas was my Reno, Pierce Robison was Billy and Averi Jackson is Hope. They were all excellent but the real standout was Paige Kennedy as Erma with “Buddie, Beware” being one of the best numbers of the evening.
Nobody sees to Anything Goes for the plot. It’s all about the singing and dancing. At SGMT director Cristin Mortenson Tillinghast and choreographer Nicole Hadley get all they can out of the small space they have to work with. The 2 best numbers of the night are “Anything Goes” and “Blow, Gabriel Blow” where the audience is surrounded by singing and dancing and one can’t help but smile.
Especially for a small community theater the costumes by Staci Martin are a real standout. Whether it is the red dresses for “Blow, Gabriel Blow” or the white sailor inspired looks throughout the amount of time and care that went into each look including headpieces and period appropriate shoes did not go unnoticed. It adds to the immersion when such an attention to detail is paid in a musical like Anything Goes.
One of my favorite parts of Anything Goes at SGMT was the terrific comic timing of the whole cast. I especially loved David Leishman’s broad over-the-top take on Evelyn Oakley and “The Gypsy in Me” was a highlight even if the lyrics are a bit outdated. Other standout numbers include “I Get a Kick Out of You,” “It’s De-Lovely” and “You’re the Top.”
Like I said, I saw Anything Goes on closing night so there isn’t any more opportunities to see it but they have Man of La Mancha coming up so if you’re in the St George area definitely get yourself a ticket to SGMT. As with any piece of community theatre there were flaws with this production of Anything Goes but what they get right they really get right making for a delightful night of entertainment. I really enjoyed myself and can hopefully get down to St George to see more from them again soon. Tickets and more information can be found 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.
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‘WAIT UNTIL DARK’ DELIVERS THE THRILLS AT STAGE DOOR IN ST GEORGE (REVIEW)
In the last few years I have tried to push myself when it comes to horror/thriller theatre. Recently I have seen such productions in the genre as Heathers: The Musical, Evil Dead: The Musical and Misery. All of these were outstanding experiences but the thriller I keep coming back to as my favorite is Wait Until Dark. This play written by Frederick Knott in 1966 may just be a perfect piece of theater. Perfectly paced, perfect characterization, perfect thrills (you get the idea.) So I was thrilled when I found out Stage Door Theater in St George (a company I’ve been wanting to check out for some time) was putting on Wait Until Dark while I was going to be in town for a quick trip. To my delight this is such a great production that anyone open for some thrilling entertainment will love.
The biggest aspect that makes this show work is the incredible cast. All are at the top of their game with Coy Andrew Shinn Jr standing out in a big and over-the-top take on the sinister Roat. Rebecca Wright is terrific as the blind lead protagonist Susan Hendrix and Aria Williams is very good as the young Gloria.
The strong cast is carefully directed by Trey Paterson with all the elements coming together to create peak suspense. He and scenic designer Joshua Scott have created a gritty-looking apartment with a window that allows for shadows of the people passing it to become an integral part of the story. We also get the set sufficiently dark when it needs to be and the bedroom doors are situated just right to allow for our big jump scare to give maximum impact.
Granted Wait Until Dark is almost always an easy win for me. I really do think it is a perfectly crafted play from Frederick Knott but if you are in the St George area I highly recommend this production from The Stage Door. It’s a real treat for the performances alone. Don’t miss it! It is playing through March 8th 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. Please take a look here.
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‘TALE OF TWO CITIES: LIVE IN CONCERT’ IS SPECTACULAR IN OGDEN (REVIEW)
There are times when I think the non-Utah readers of my site think I am being hyperbolic with the quality of the productions in my state but I just wish they could all experience how good so many of them are and they’d see the truth in my praise. Such an example of an outstanding production is A Tale of Two Cities: Live in Concert that is currently running at the Egyptian Theater in Ogden by Ogden Musical Theatre. This is the second production I have seen from them with Aida being good but not great but this one truly blew me away.
Unlike Aida this is a musical I have never seen before and am largely unfamiliar with. I’d actually heard disparaging things about it and that it’s a ‘copy of Les Miserables‘ but I’d just never had the chance to see it. When I found out this was a concert experience I was concerned I’d struggle to follow along but I have read the book by Charles Dickens and they still acted out most of the scenes just didn’t have sets and costumes like a traditional play (all the actors are in black.) They do have projections in the background to set tone which I liked when it was real paintings better than when it was AI drawings but it was effective.
This production is directed by Maddie Tarbox and the large orchestra is directed by Michael Palumbo, and it’s an amazing experience to be a part of. The orchestra is outstanding and the cast is as good as anything you’d see in New York. The whole night I kept thinking this entire production could be done at Lincoln Center and I wouldn’t find it out of place one bit. You’d never expect to find something on that level in Ogden.
Kyle Olsen leads the cast as Sydney Carton with Jessica Knowles Andrus being the other standout as Madame Defarge but honestly they are all great. Not only do they have professional quality voices but they sold the scenes for someone like myself that is unfamiliar with the work.
While this is my first time seeing this show I didn’t feel like it is Les Miserables-light. I can see some similarities in their revolutionary stories but it’s much more of a romantic love triangle than Les Miserables which really only has that for the secondary characters Marius/Cossette/Eponine. If anything Jill Santoriello in her book, music and lyrics have improved on some characters from the novel like Lucie is less of a damsel in distress and has more of a narrative arc through the musical.
The musical does feel a little bloated but all the performances are so captivating and the music so outstanding that I was entertained throughout. A Tale of Two Cities: Live in Concert is playing in Ogden through March 1st and I can’t recommend it more highly. 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.
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‘HADESTOWN: TEEN EDITION’ IS WAY UP FOR THE TEENS AT SKYRIDGE (REVIEW)
I don’t know if I have seen anything quite like the phenomenon that has become the Hadestown: Teen Edition. At least here in Utah it is being performed everywhere. This is my 3rd review in just a few months and there are multiple productions I have not seen. The interesting thing is when I saw Hadestown on Broadway I was in the liked it but didn’t love it camp. I never expected I would become a mini-expert on the teen edition! That said, I am here for it because this show gives so much opportunity for the students to grow and provides ample space for lots of teens to become involved whether it is the large ensemble scenes or the technical and music elements that are a part of the show. Yesterday I had the chance to see the production at Skyridge High School and it was another outstanding trip to the underworld.
Of the 3 teen productions I’ve seen this one at Skyridge is the most simple with minimal props and simple sets but I was fine with that. Director John Brown has clearly worked hard with his team to involve as many students as possible with nearly 50 members of the two-part ensemble alone. The set is also simple but it looked homemade by the students and that’s what I like to see. The electric aspect of Hadestown was featured in stadium lights behind the actors and some of the Workers wearing miner headlights. The ‘tech theatre class’ is credited in the set design and construction and that is awesome and they should all be commended for their hard work. I also really appreciate the live band and the sound work microphoning almost everyone in the ensemble is no small task.
The cast of teens is excellent with AnnaBelle Taylor and Alexander Hsiao standing out as Persephone and Hades respectively. Taylor brings a hopeful spirit to Persephone one doesn’t always see and Hsiao nails all those low notes and the wicked charm needed for Hades. Claire Allen and Daxter Jones are also outstanding as Eurydice and Orpheus respectively. All the Chants and Epic numbers are so well sung and the choreography by Kirsten Richards keeps the action moving, even through some of the slower sections.
I’m not sure what else anyone could ask for from these teens. They did an incredible job and I highly recommend seeing Hadestown: Teen Edition at Skyridge while you have the chance. It is playing through 2/25 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. Please take a look here.
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‘THE PRINCE OF EGYPT’ DELIVERS A MIXED EXPERIENCE AT HCT (REVIEW)
Sometimes being a theatre critic can be tricky. There are so many aspects that go into a successful production that it can be tough to know what to value more than others and how much my personal taste to factor into an overall recommendation. This is why I am starting a new grading icon. Since I don’t have the rotten/fresh requirements my movie reviews must fit into I am now going to have a ‘mixed bag’ rating for a production I feel mixed on. Simple as that. Let me know what you think of this new rating!
I mention this new rating because it is exactly how I felt about Hale Center Theatre’s new production of The Prince of Egypt. This is an adaptation of the popular animated film (a movie I adore) and this is only the 7th worldwide production of this musical just after a 2020 staging in the West End that was filmed for a pro-shot released in 2023. I saw the pro-shot and felt it was a mixed bag but was excited to see it in person at Hale. In the end I left feeling once again mixed about the whole experience.
Let’s start out with the good. Pretty much everything that is within Hale’s control they excelled at. The singing and choreography is Broadway level quality as is expected at Hale with Zack Wilson and Ren Cottam having terrific chemistry as Moses and Ramses respectively. The spectacle by director Dave Tinney is also very impressive with “The Plagues” being the highlight of the night. They use a giant metallic fabric with surrealist projections on it to symbolize the darkness and chaos. It is a breathtaking effect. I was also impressed with how grounded the production was with the stage staying put almost the entire night with only a few small movements. I loved the spectacle of Beauty and the Beast, but I know the stage mechanizations hurt the sight lines for many patrons. This is a welcome change of pace for anyone who has those concerns.
All that said, this is a terrible adaptation of this movie. I left thinking what on earth was music and lyricist Stephen Schwartz thinking? I understand that an animated film needs to be puffed out in order to fit the length of a Broadway musical but this show only has 5 songs from the original film and all the new songs are weak and the changes they make to the characters is honestly baffling. What shocked me most is how much Schwartz and team have secularized the piece. I understand the animated film focuses on Ramses and Moses as brothers but not at the expense of a religious transformation by Moses and a clear weakness on the part of Ramses to recognize the power of the Hebrew God.
In this version the burning bush sequence is treated as an after-thought and the Egyptian Gods are mentioned more than the Hebrew. It feels like Moses is the villain of Act II not Ramses the enslaver and dictator who lets his pride get in the way. Believe it or not they give the 2 brothers a happy ending embracing in the middle of the Red Sea. It’s completely ridiculous and underwhelming (I could go on and on with loads of nitpicky changes I didn’t like but I’ll spare you!)
I will definitely be curious what others think of this one. Perhaps I am too attached to the animated film. I don’t know. Like I said, the Hale aspects are outstanding. It looks great. All the talent is impressive, so I can’t say don’t see it. It’s worth seeing for all they accomplished. I just wish it was a better adaptation. If it ever makes it to Broadway I hope they make significant changes.
This mixed experience makes it the perfect time to use my new rating! Let me know what you think if you get to see The Prince of Egypt at Hale Center Theatre. It is playing through April 12 and selling out fast. 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.
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UTAH THEATRE LOG 2/14-2/20 (XANADU, SHE LOVES ME, CINDERELLA) (RACHEL’S THEATRE LOG 100)
Hi everyone! I can’t believe we are at my 100th theatre log! Where does the time go? Today I have 3 shows to give my quick reports on as most companies are asking for me to do full reviews these days. I am certainly being kept very busy watching theatre (happy problem to have seeing too many plays!)
XANADU- UNIVERSITY OF UTAH THEATRE PROGRAM, SALT LAKE
Last year I was a big fan of Starlight Express put on by the Liahona Academy. It was fresh and exciting and full of movement and fun. It is for this reason that when I saw the advertising for Xanadu at the U of U I made sure to squeeze it into my busy February schedule. I realize the plots are different but the roller skating featured in the marketing made think Xanadu would also be a fun and energetic musical. After seeing it there is fun to be had it’s just not very much with the roller skating so that was disappointing.
In fact, there is really only one character that wears roller skates for most of the show. It’s Kira played by Alexa Shaheen. She is very good and is very skilled at several accents including an Australian one. All the students are excellent in this and it was interesting to see another take on the Greek myths since I have seen Hadestown so much recently (I’m actually seeing it again tonight!)
That said I was underwhelmed by the story and found it quite plodding and dull. I have never seen the 1980 film so maybe that is part of it. If I had nostalgia for the movie maybe I would be more charmed by the experience. I never regret supporting student performers but Xanadu as a show just wasn’t for me. Xanadu is playing through 2/23 and tickets can be purchased here.
This production of Xanadu is directed by David Eggers. Music & lyrics by Jeff Lynne & John Ferrar with a book by Douglas Carter Beane based on the 1980 feature film.
CINDERELLA- THE RUTH THEATRE, PLEASANT GROVE
Anyone who knows me knows I’m a big fan of Cinderella. I just love the story of hope and magic so I was very excited when I heard Cinderella is going to be one of The Ruth’s premiere shows in their new theater. This is the “Topher” version of the Rodgers and Hammerstein musical and they did not disappoint. What an enchanting beautiful night of theatre.
I was able to attend the T/Th/Sat cast and I hope to be able to see the other cast before the run ends. Cinderella or Ella is played by Teaira Burge and she is absolutely luminous as our lead. She is warm and kind and everything you could want in a Cinderella. The whole cast is great with Dan Van Ormer as Prince Topher and Bonnie Wilson Whitlock as a deliciously evil stepmother Madame.
Even if you don’t like Cinderella as much as I do this show is worth seeing for the production details alone. Director Rodger Sorensen and his team have seemingly thought of everything. The puppetry throughout is charming, the choreography by Sayoko Knode is dynamic and fun and the costumes are next level outstanding. Costume designer Elizabeth Banks Wertz belongs on Broadway not in Pleasant Grove! I particularly loved a gold dress for the banquet and the wedding dress is unforgettable.
Fortunately there is lots of time to see Cinderella at The Ruth. It is playing until May 3rd and I highly recommend checking this one out. Tickets can be purchased here.
This version of Cinderella is based on the classic story with music by Richard Rodgers and lyrics by Oscar Hammerstein II and a book by Hammerstein and Douglas Carter Beane.
SHE LOVES ME- OPPA THEATRE, LAYTON
Like Cinderella I also love the musical She Loves Me and will go to whomever is putting it on. This includes driving up to Layton to see it at OPPA (On Pitch Performing Arts) this last Monday, and I’m glad I did. What a charming and well performed piece of romantic comedy theatre that I highly recommend.
This production stars Caitlin Olsen as Amalia Balash who secures a job in the opening scenes at a perfumery in Budapest (the original play Perfumerie is Hungarian so must versions are set in Budapest.) Unfortunately for Amalia she doesn’t get along with her boss Georg Nowak played by Cormac Romine but the catch is the 2 enemies are actually writing each other as part of a Lonely Hearts Club. I think someone would have to be pretty cynical to not be charmed by this premise. 2 people falling in love over their words is just an appealing concept and the musical is so well crafted with wonderful songs throughout.
The stage at OPPA is small but I was impressed with how director Mira Jorgensen and set designer Brandon Stauffer created the world of the store and used moveable blocks to create everything from a store counter to a bed depending on the scene. Olsen and Romine have excellent chemistry as our leads but the real standout in the cast is Amanda Murray as Ilona Ritter. She has a lovely singing voice and brought a lot of personality to role with her dynamic acting. The highlight of the night is the “Ice Cream” and “She Loves Me” songs when both of our leads realize they love the person they thought they hated. I also loved hearing Olsen sing “Dear Friend.” OPPA should feel very blessed they have a singer as talented as Olsen in their productions. She elevates everything she is a part of.
OPPA is what I refer to as a learning company so it doesn’t have the polish of something like The Ruth but that’s all part of the charm of a night of community theater. She Loves Me is playing through March 1st and tickets can be purchased here.
She Loves Me has music by Jerry Bock, lyrics by Sheldon Harnick and a book by Joe Masteroff.
So there you have it! What have you been watching and have you seen any of these shows? Happy theatre going!
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 