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‘PETER PAN’ NATIONAL TOUR IS SURPRISINGLY MAGICAL (REVIEW)
Of all the classic stories of childhood I have never been that drawn to the story of Peter Pan. Whether film or theatre I would way rather watch something on The Wizard of Oz or Alice in Wonderland and certainly Cinderella than Peter Pan. With this background when I saw the national tour of Peter Pan was coming to Eccles I wasn’t very excited. Nevertheless I always try and go into any play or musical with an open mind and it’s a good thing I did. To my surprise I thoroughly enjoyed this production and hope people will give it a chance as it comes to a city near you.
Peter Pan is of course based on the classic play by J.M Barrie (1904). Music was added in 1954 and it has had many film and television adaptations including the iconic 1953 animated Disney film. In general the songs in the animated film are better, although at times more problematic, than this musical but they both have their entertaining moments and capture the escapism of Neverland. My favorite version of Peter Pan is actually the 2003 version starring Jeremy Sumpter and Jason Isaacs but most of them have their fans.
The most successful aspects of this production land where it embraces both spectacle and tradition. Most companies are using a lot of video projections these days often with AI-inspired or created graphics. This can create a plasticy and cheap looking effects but this production used the projections beautifully. Particularly in the flying sequences the projection work by designer David Bengali took my breath away. I also appreciate the nearly gratuitous glitter usage to add to magic of the flying effects. The flying was just incredible (Did I mention I liked the flying?)
The direction by Lonny Price in general is super impressive. I couldn’t believe how quickly they made scene changes and maneuvered their large cast around. The cast is also wonderful in their roles especially Cody Garcia as Hook/Mr Darling (although his accent did wander throughout the night.) He nailed the comedy of the character and that’s what’s most important. I also enjoyed Nolan Almeida as Peter and find it refreshing they went with a young man over the traditional middle-aged female casting to the character. It was a little strange to have Hawa Kamara as Wendy when she is clearly an adult and John and Michael are children but I got used to it fairly quickly and her singing is lovely.
My main quibble with the production is the needless attempts to modernize the script. It’s frankly lazy and groan-inducing when we hear references to viral videos and social media in our Peter Pan retelling. I also see no reason to get rid of Nanny the dog in favor of a gen-z babysitter. It’s also not more empowering for Wendy to be super into medicine and want to become a doctor as opposed to being a mother (the Disney version we get a whole song about her being a mother which I love.) Stuff like that takes me out of the moment and is distracting when stories like Peter Pan should be timeless.
That said, I still really enjoyed the national tour of Peter Pan. It is the perfect combination of magic and big-hearted storytelling. If it is coming to a city near you I’d definitely check it out. It would be a great way to introduce kids to their first Broadway musical. Peter Pan is playing at the Eccles until 11/10 and you can purchase tickets here.
Peter Pan has music by Jule Styne, Mark Charlap, and Trude Rittmann with lyrics by Betty Comden, Adolph Green and Carolyn Leigh. Based on the book by J.M. Barrie.
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’ BRINGS THE THRILLS AT PCT (REVIEW)
There are some plays and musicals that just work. They are so carefully crafted and simple in structure that it becomes almost impossible for a company to really screw them up. Wait Until Dark is such a play. I have seen it many times over the years and I always leave having had a great time. The recent production by Payson Community Theatre is no exception. They do a terrific job for a community theatre staging of what may be the best thriller play ever written.
First performed on Broadway in 1966, Wait Until Dark,(play by Frederick Knott) is not only entertaining but it somehow manages to feel fresh in a world where horror and thrillers feel played out and unoriginal. It even has quite possibly the most iconic jump scare in the history of theatre (or the 1967 film adaptation.) One watches it and outside of the landline phone pretty much every other aspect could still happen today to a blind woman liked Susan.
At PCT Adam Cannon directs with a high attention to detail. I particularly enjoyed how the set up of the apartment (set designer Victoria Larsen) is used to add tension to each scene. It is staged as a basement apartment and the window (which favors into the plot) on the back wall allows us to get a peak of who is about to come to the door and knock. It’s like a little hint before the blind Susan can be ready.
Speaking of Susan, Ester Slaeker is excellent in the role. She makes sure she accounts for every piece of furniture and challenge a newly blinded person might experience. Craig Gardner also has just the right amount of camp as Harry Roat. Jane Champion is a likable rascal as Susan’s neighbor little girl Gloria.
Being an amateur production there are little foibles here and there but nothing that hampered my enjoyment. My main critique is I wish they had kept the total darkness just a hair longer so the light from the fridge has the huge impact it is meant to have. Also the performance is at Payson Junior High and the chairs there are of the folding medal variety which can be hard on ones back. I recommend bring a back pillow or seat cushion to help with this problem.
That said, if you like a good old fashioned thriller you’ll love Wait Until Dark at PCT. There are moments you’ll be tempted to grab the hand of the person next to you and squeeze it to relieve the tension. It’s a night of thrills and chills. To be sure!
Wait Until Dark runs through Nov 9th 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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‘4/20/99 A STORY OF COLUMBINE’ REMINDS US OF A CHILLING DAY IN RECENT AMERICAN HISTORY (REVIEW)
Most of the time as a theatregoer and critic I look at a piece through a lens of entertainment. If I’m watching a musical I ask myself how engaged I was with the music and dance elements? If it’s a straight play how engrossed am I with the story and performances? However, there are times when an experience at a theatre takes on more of an educational role helping us to engage with historical events and social issues on a more visceral and artistic level. Such is the experience at the recent performance of 4/20/99: A Story of Columbine at the Regent Black Box at the Eccles Theater in Salt Lake. It is a grueling experience but powerful and worth experiencing and remembering a violent day of American history.
In this play writer and director Autumn Marie Cazier takes us to the days before the Columbine High School Massacre as perpetrated by teens Dylan Klebold and Eric Harris. Evidently these 2 made the Columbine Tapes before their decision to stage a mass shooting at their high school and which much of their dialogue in the play is based off of. These events are particularly poignant to me because I graduated from high school in 1999 (I was attending community college for my senior year) so I was the same age as the Klebold and Harris and vividly remember seeing the events play out on the news.
The most impressive aspect of 4/20/99 is the performances from the mostly young cast. Ryan Munsey and Andrew Myers are realistically chilling as Klebold and Harris. The way they talk about blowing up their classmates as some kind of dare in a movie (Natural Born Killers is a particular favorite) is chilling and unforgettable. Anell Gathercole is also excellent a Robyn Anderson who is making understandable decisions for a simple teenage girl not realizing they will have disastrous consequences. We as the audience know what horrible mistakes she’s naively making and can only watch in horror.
The actual events of the massacre play out in Act 2 and Cazier uses sound (sound technician Ian Bengyzen) to take you to the high school and that moment as well as making sure the emphasis is on the victims with photos and words in memoriam for each of them. For the most part these scenes are played out without much artistic license with one exception. In a portion of the tapes Dylan talks about a halcyon girl who will welcome him into the afterlife. At one point he dances with this girl and because everything else is so grounded and real I found it confusing and strange. It just didn’t fit tonally with the rest of the play in my opinion.
I also worry the play loses some of its efficacy when it becomes too much of a trauma dump. Perhaps such issue-oriented violent plays would be better as one acts or smaller skits? It’s a lot to take in such anger and hatred especially from teens. It would also be nice if such performances were more action-oriented. What I mean by that is we as the audience are put through a traumatic experience and surely the creators must have something specific they want us to do with that trauma? They present a bunch of statistics for violent crime but what’s their hopeful solution? A lot of things have been attempted to help with gun crime over the years but to no avail. A specific call to action could help transform the play from something upsetting to empowering.
That said, if you get a chance to see 4/20/99: A Story of Columbine I recommend it. It’s brutal but also a searing and extremely well acted reminder of what two bitter hearts can do to others if left unchecked. The human heart is truly capable of some horrible actions and that is terrifying and humbling. The play’s run has finished at the Regent but you can find out more about future productions 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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‘MISERY’ IS A LIFE CHANGING EXPERIENCE AT IMMIGRANT’S DAUGHTER (REVIEW)
As a theatre critic and patron of the arts I am always looking for new and exciting productions I can experience. Such is the case with the latest from Immigrant’s Daughter and Lil Poppet Productions and their staging of the play Misery. It is unlike anything I have ever been a part of before, and definitely one of the theatrical highlights of 2024.
Misery is a play adapted by William Goldman from the popular novel by Stephen King. It was made into an Oscar winning film starring Kathy Bates and James Caan and adapted into the play in 1992 for a premiere in the West End in London.
The premise is simple (which most good horror is simple in my experience.) A man Paul wakes up from an accident finding he has been ‘rescued’ by a woman named Annie who claims to be the ‘world’s biggest fan’ of his writing. As it turns out she has crossed that bridge from fan to psychopath and we spend the next 2 hours with mostly these two characters in a tit-for-tat over control, manipulation and obsession.
Director Morag Shepherd is brilliant to stage the play in the ceramics room at Westminster College. The small setting allows for the actors to be in close contact with the audience so it becomes an immersive experience. I think I had the best seat in the entire group and many times Tyson Baker looked directly into my eyes as he desperately tries to figure out how he can get out of this insane situation. I can’t think of a time when I have been more connected to a performance in my life as a theatregoer.
Stephanie Stroud is also brilliant as Annie. She has the cadence and mousiness the role requires but it feels totally believable when she transitions into her darkest tendencies. Both actors put their entire body and souls into the performances, and I find it hard to believe they have the mental strength to do what they did on a daily basis and sometimes twice a day.
Unfortunately today is the last day for Misery but I know I will definitely have my eye on Immigrant’s Daughter and Morag Shepherd in the future because this was truly an unforgettable experience. I only wish the run was longer so more could experience it. You can find out more about the company 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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‘PRAYER FOR THE FRENCH REPUBLIC’ AT PTC CANT RECOVER FROM A BLOATED SCRIPT (REVIEW)
When I was setting up this site I was very thoughtful about the scoring ruberic I would use. At first I considered the smile and frown worthy system I have for movie reviews (for that site), however since I review so much community theater giving anyone a frown didn’t feel right. What I came up with instead was ‘go see it’ and ‘not for me’ and the latter is how I feel about today’s play. Prayer for the French Republic is not a bad play and will probably resonate with many theatregoers. Indeed much about the production at Pioneer Theatre Company is praiseworthy and handsomely mounted but it is definitely not for me. It might be for you, and I celebrate that but let’s talk about why the experience was not as edifying as I might have hoped.
To begin with I do admire PTC artistic director Karen Azenberg’s ambition for adding such a fresh and difficult to market play into their season. The length and topics discussed are not going to be for the average casual theatregoer and that’s what keeps people coming back to PTC time and again. It may not have paid off for me but I do appreciate big swings and that’s what they took. She also directed the production which was effective in spite of its many moving pieces.
The cast is all uniformly strong with Salt Lake royalty Jayne Luke stealing every scene she is in as the 1944 section of the script. I just saw her in Arsenic and Old Lace and it was delightful to see a totally different type of character from such a talented actress. I also enjoyed Kim Taff as 2016 daughter Elodie Benhamou. She has a monologue to open Act 2 which while it goes on far too long was delivered with a dry sense of humor. None of the actors attempt a French accent which I found surprising but I guess that was the case with the Broadway play as well.
The set by Bryce Cutler is also very impressive with them creating a kind of black box on stage with black curtains surrounding an apartment framed in by a white box with lighted walls going way high into skies. They also used the middle of the stage to swap out different apartments creating the 1944 vs 2016 settings including at different points a bedroom, a full kitchen and more.
My problem with Prayer for the French Republic comes down to Joshua Harmon’s script. It’s not just that it is 3 hours with 2 intermissions (I enjoyed The Lehman Trilogy at PTC last year that’s also long with 3 acts.) The problem is the flipping back and forth between the 2 eras makes it difficult to invest fully in the narratives of the characters. This is especially a shame with the 1944 section because the perspective of a post-Holocaust Jewish family is interesting and one I haven’t seen much of in theatre or film. I have felt the same way in other split time narratives like The Joy Luck Club (book and film) where the modern section feels so much less compelling than the older one. Why does it seem like modern characters spend most of their time in these narratives complaining? This is exemplified by Elodie’s monologue which while funny did become ponderous after a while.
The whole play feels bloated and to use a pedestrian term frankly boring. Particularly the modern characters aren’t sharing authentic experiences but are speechifying to each other and to the audience, which again, becomes tedious and bland. I know it was a very successful play on Broadway and has a lot of fans but at least in this iteration it did not work for me, and I left feeling more tired than intrigued. Others mileage on Prayer for the French Republic may vary so if it sounds intriguing check it out. It is playing at PTC until Nov 9th 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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‘SECRETS OF SLEEPY HOLLOW’ AT THE HIVE IS A NEW TAKE ON A CLASSIC GHOST STORY (REVIEW)
As a patron of the arts and critic I am always rooting for local original productions and hopeful they will be great experiences I can champion. However, I was a little nervous going into Secrets of Sleepy Hollow at The Hive Collaborative in Provo. I love the Disney animated classic based on Washington Irving’s short story from 1820 but I really disliked a musical version I saw last year at WVPAC. I wondered if the actual story just isn’t for me and it has to be Disneyfied for me to enjoy it or if it was just the musical? Well, I saw the version at The Hive and while it is not perfect I enjoyed it much more than the previous one.
This straight play called Secrets of Sleepy Hollow is adapted by Mahonri Stewart and directed by Jason Purdie in the small intimate space of The Hive. My favorite aspect of the production was the use of thin muslin panels when lit to create silhouettes to tell the ghostly sections. There are 3 panels so the storytelling could go across the stage in shadows and that was a lot of fun. I particularly enjoyed Act II more as the action started to build momentum and the plot became more focused and easier to follow.
The cast is very talented with Joel Ackerman bringing a charm to Ichabod and Darci Ramirez a quiet strength as Alice Hudson. My friend didn’t like the ‘silly girls’ of Guenevere and Gertrude Goosen played by Christina Craven and Alisha Laidlaw respectively, but I actually thought they were nice comic relief and were very convincing in their accents.
Perhaps because I am not as familiar with the Irving story as some, but I do think Stewart could work on making particularly Act 1 a little tighter with a clear story arc for Ichabod. I wasn’t really sure what his goals were as a character. There’s one moment where he talks about loving food, but we don’t get the building greed or superstitious nature of the animated short. I realize this is not the short but what that does well is it builds his character bit-by-bit until him getting spooked in our big finale makes complete sense. There’s honestly a lot happening plot-wise for a small cast. A part of me actually wondered if it would be better starting at the beginning of Act II and making it a one act?
Nevertheless, there is a lot to enjoy in Secrets of Sleepy Hollow. The production establishes a spooky atmosphere and mood, and I really did love the silhouette effects used throughout. If you are open to something a little more experimental than head over to The Hive for a ghostly good time at the theater! I actually think it could make a good date night because a lot of different relationships are portrayed. The play runs until Nov 2 and you can purchase tickets here.
Also I was on KSL’s Fan Effect program talking about Sleepy Hollow with my friend KellieAnn Halvorsen and Ackerman. You can listen to it 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 10/12-10/14 (JEKYLL & HYDE, LITTLE WOMEN) (RACHEL’S THEATRE LOG 63)
There must be something in the Utah air right now that everyone is feeling Jekyll & Hyde and Little Women! I’ve reviewed them both recently, and now I am logging them again. Luckily they are both shows I enjoy, so I don’t mind seeing lots of different takes on the material. So let’s talk about these fun shows:
JEKYLL & HYDE- WEST VALLEY PERFORMING ARTS CENTER, WEST VALLEY
Jekyll & Hyde is an interesting show because while I think it could be better as far as its book and pacing its overall entertaining in mood, atmosphere and some banger songs. My favorite version I ever saw was at Draper Historic where Tanner Tate blew me away as Jekyll/Hyde but this production at WVPAC was equally strong. I left with little to no notes. What impressed me the most is how original the interpretation is. It did not feel like a show I had just seen a very good version of on Monday when I saw this the same week Saturday. Director Shelby Ferrin deserves massive praise for seemingly thinking of everything when it comes to this production. It is dazzling.
Rhett Richins is remarkable as our lead Jekyll/Hyde. It is an incredible accomplishment to see him switch between the 2 characters in every way, voice, timbre of singing, posture, everything. He is as accomplished an actor as any equity actor I’ve recently seen. Jessica Knowles Andrus is also remarkable as Lucy with a beautiful belt for songs like “Someone Like You.”
I loved the scenic design by Morgan Golightly (what a perfect name for musical theatre!) They don’t miss a beat even making sure the chemical reactions actually happen in Jekyll’s lab and the large set for the Red Rat created visual interest for the dancers in “Bring on the Men.”
The most impressive aspect of this Jekyll & Hyde at WVPAC, however, is the creative choices. Most notably to have the demons haunting Jekyll portrayed by actual dancers who surround our actors and come out into the audience giving everything such atmosphere and tone. I have never seen that done before with this show and it is brilliant.
I read another review saying the actors weren’t syncing well with the backtrack. They must have worked on that because it wasn’t noticeable at my performance. The fact one can see a show of this quality for under $30 is incredible. They should be selling out. It is playing at WVPAC through Nov 2nd and you can purchase tickets here.
Jekyll & Hyde is based on the novel by Robert Louis Stevenson with book and lyrics by Leslie Bricusse and music by Frank Wildhorn.
LITTLE WOMEN- SANDY ARTS GUILD, SANDY
Moving up as far as setting to the 1860’s we have another adaptation of a classic novel in Little Women at Sandy Arts Guild. Being the oldest of 4 girls and it being the first big novel I ever read Little Women will always have a special place in my heart, and I am pretty easy to please when it comes to adaptations (we don’t talk about the 2018 modern film adaptation…) Fortunately this musical version is lovely, and I will jump at any chance I get to see it.
Of course everyone knows the story about the 4 March sisters during the Civil War trying to make the best of a bad situation. This production in Sandy is directed by Lisa Noyes and she manages to get the best out of her performers and they feel like a family unit- particularly the 4 sisters which is key to making Little Women work. The 2 story set by Cassie Smith and Megan Sternod is very impressive with little details like period accurate wallpaper and a very convincing fireplace we need for the infamous book burning scene.
The costumes by Karen Chatterton are interesting. She definitely embraces the hoop skirts of the era. One doesn’t always see that as the March sisters are usually portrayed as more grounded and earthy than we think of as the hoop skirts of the era. She also mixed patters and fabrics together in a surprising way. In one scene Laurie has a giant bowtie which is something I’ve never seen done quite that way before. I’m sure it must be period accurate but it was unique enough to be intriguing. The wigs are also excellent particularly with Jo’s long to short transformations. It truly looks like she cut the same hair from scene to scene.
My favorite performance of the night is Anne Jensen as Amy. Often times people forget Amy is the youngest of the family, not Beth, but Jensen captures this immaturity well making her a sweet and endearing character. She also manages to keep that young energy as adult Amy but is a believable love interest for Laurie (Rhett Butler.) Derrik Legler is also terrific as Professor Bhaer and extremely convincing with his accent.
My two favorite songs from this show are “Some Things Are Meant to Be” and “Days of Plenty” and both are beautifully performed by Emma Roberts as Beth and Tamari Dunbar as Marmee respectively. I do think the operatic tragedy portions of this adaptation drag and are too long but that’s nothing this production could control.
If you are looking for a great way to introduce your family to musical theatre and classic literature Little Women at Sandy Arts Guild is a great choice. It is playing through Oct 19th and you can purchase tickets here.
Little Women is based on the novel by Louisa May Alcott with music by Jason Howland, lyrics by Mindi Dickstein and a book by Allan Knee.
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 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.
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‘THE HUNCHBACK OF NOTRE DAME’ IS A MIRACLE OF A SHOW AT TCT (REVIEW)
Anyone who knows me knows I am very hit and miss when it comes to the Disney Broadway adaptations of their animated classics. Some I love like Beauty and the Beast and others really fall flat like Mary Poppins. The Hunchback of Notre Dame is an interesting adaptation because I’m actually not the biggest fan of the movie. It’s the rare Disney adaptation where I think the Broadway musical significantly improves on the animated film (can see my whole Disney Broadway ranking here.) We get more character motivations and the tone is more consistent. I’ve now seen this musical many times including a great production in Murray this summer (that had a live orchestra and choir!) but the current staging by Timpanogos Community Theatre may be my favorite take on the material I’ve ever seen.
This production is directed by Andrew Jeffries and he with his team seemingly thought of everything. The set by Calleb Wallengren is brilliant with 2 stories and a set of moving staircases that allow the cathedral setting to be covered and the ambiance to be quickly changed from the belltower to the tavern, to the Court of Miracles. It was seamless and so effective. It also allowed the action to be continually moving, giving room for the dance and fight choreography (Stephanie Cole) to be inventive and exciting. The lighting by Wallengren was also very impressive especially in the “Hellfire” sequence where they practically recreated the scene from the animated film. Esmeralda is dancing with the red and blue backgrounds and the choir surrounds Frollo as he sings his evil anthem.
Speaking of the choir the ensemble work throughout is outstanding with any supporting player having the voice for a lead when given the chance to sing. They could keep the choir in service and I’d attend their concerts. The harmonies were beautiful for songs like “God Help the Outcasts” and “The Bells of Notre Dame.”
Our lead cast is also very strong with Adam Moore putting his whole body and soul into the role of Quasimodo. His performance of “Out There” would inspire even the most cold-hearted in the audience. I also absolutely loved the “Made of Stone” number towards the end. Other acting highlights are Aaron Williams as Clopin particularly in “Topsy Turvy” but throughout and Teresa Jack as Esmeralda. I especially liked her in Act II as things get more desperate, and she is riveting as Frollo tries to have her burned, and she spits in his face.
The only choice I found puzzling in this production of Hunchback is they have Moore put on the prosthetic for the hunch at the beginning of the show in front of all of us and then show him in an afterlife sequence having it removed and him standing straight. I would love to talk to the creators about what their intent is with this choice because it seemed to imply Quasimodo needed to be changed when isn’t the true victory in his saving Esmeralda with his challenges? I found it an odd choice and it seemed to go back on some of the themes and lessons so carefully built up over the course of the nearly 3 hours we spent together. It’s not a dealbreaker by any means and I’m confident the intended message was different but let’s just say I found it to be distracting and unnecessary.
Other than that I thoroughly enjoyed TCT’s The Hunchback of Notre Dame. It was the finale of a long week of 7 shows and yet I was transfixed from beginning to end. It is playing through October 19 and tickets are $20 and under. A bargain! You can purchase tickets here. You’d be a fool to miss it!
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 10/9-10/11 (MY FAIR LADY, PERSUASION, CLUE: THE MUSICAL) (RACHEL’S THEATRE LOG 61)
I truly had a magical week of theatre this week and will be logging and reviewing more of the productions over the next few days. If you want to read my reviews of the movies I saw click here. Meanwhile here are some logs for 3 local shows:
MY FAIR LADY- HALE CENTER THEATRE OREM, OREM
Seeing My Fair Lady at Hale Center Theatre Orem was a bit of a bittersweet experience because even though it was highly entertaining it is probably the last show I will see at this location. They will have their A Christmas Carol which is not part of the season pass and then will be moving over to their new location in Pleasant Grove called The Ruth. I am very happy for them but I will miss the intimacy and unique nature of the theater in Orem.
Fortunately this production of My Fair Lady is an excellent one for them to go out on. I saw the MWF cast and on pretty much every level it delivers on a wonderful take on this classic material. What impressed me the most is how the humor in the script was highlighted and brought to the forefront. M. Chase Grant in particular as Henry Higgins gives the funniest take I’ve ever seen for the role and helped make the character more endearing and the romance more palatable (an element of this musical I typically don’t enjoy.)
Ashley Gardner Carlson is fantastic as Eliza Doolittle and again she brought out the humor in the role with songs like “Without You” and “Show Me.” This production is directed by Rodger Sorensen with beautiful costumes by Dennis Wright. I particularly loved the Ascot scene using grays and purples in contrast to the usual white and black. My only real critique would be they could have changed out the individual settings a little more. I understand the space makes set changes tough but keeping it the flowered street whether they are inside or outside for even the Embassy Ball was a little underwhelming. But other than that it is a great version of My Fair Lady I highly recommend. It is playing at HCTO until Nov 23rd and you can purchase tickets here.
My Fair Lady is of course the classic musical with lyrics and book by Alan Jay Lerner and music by Frederick Loewe.
PERSUASION- SNOW COLLEGE THEATRE, EPHRAIM
As soon as I saw that Snow College was putting on Melissa Leilani Larson’s adaptation of Persuasion I knew I had to see it despite the college being a nearly 2 hour drive in Ephraim. Larson is my favorite local playwright and was one of the first interviews I ever did when I had just started out my channel back in 2016. Even as I was driving down in heavy traffic I began to think ‘is this going to be worth it.’ Well, once seated any doubts I had were put to the side by a wonderful production of one of my favorite Jane Austen novels (I saw a production of this adaptation via a live stream during the pandemic so it was meaningful to see it live on stage this time.)
The art direction of the piece (director Jenn Chandler) is simple with an abstract background that could become everything from Kellynch Hall to the beaches in Lyme. Persuasion is a particularly difficult novel to adapt because much of the action either happens off stage before we meet the lead couple or within their minds. What Larson has done to fix this is the brilliant choice of having 2 couples play Anne and Wentworth. This way we see the couple’s first and second chance at love.
The whole cast of students at Snow College are excellent with Chloe Hannah and Shayla Florence playing Anne, and Joshua Peterson and Landon Bulloch as Wentworth. It may help I am so well versed in the story that I wasn’t confused by two versions of the characters but it is so widely known that most who buy tickets are probably aware of the basic plot. Of all the performers, however, Ruby Bagley really stole the show as Mary Musgrove. She is probably the funniest character in the novel and Bagley has terrific comedic timing.
Some of the other performers could be a little too exuberant and big for the regency setting and relative stillness of the backdrop but Persuasion was still a very entertaining night of theater. It can still be seen until the 15th and tickets can be purchased here.
CLUE: THE MUSICAL- HERITAGE THEATRE, PERRY
When I saw Heritage Theatre in Perry was putting on Clue: The Musical I was intrigued. I have seen the play based on the game/movie but didn’t even know the musical was a thing. So despite the over an hour drive to get to Perry I made my way up to see the show and I’m so glad I did. Heritage Theatre is a community theater in the best sense of the word and this is an ambitious but well executed mystery experience.
What impressed me the most about Clue: The Musical is the interactive elements. I’m normally not the biggest fan of improv but you’d never know there are 216 different outcomes to this musical! It all feels very scripted. The songs aren’t especially memorable but they work as transitions from one scene and clue to the next. Directors Bree and Derek Hendricks have seemingly thought of everything with a game board projected on the wall and a live band to play the musical cues. I also loved the set design by Derek and Jess Tarbet. Each of the rooms of the iconic game are created on a turntable that moves from one setpiece to the next. They even have playing pieces for each character in each of the rooms which I thought was quite clever.
The performers are all having a ton of fun but Sam Bakker is probably my favorite as Mrs White. I think we really lucked out to have her as our murderer (not a spoiler since every performance will be different.) I’m actually not that big of a mystery person but this is just a fun experience. It’s not the polish you’ll find at something like HCTO but that’s part of the charm. If you are anywhere near Perry I’d highly recommend seeing Clue: The Musical. It is playing until Oct 26th and you can purchase tickets here.
Clue: The Musical has a book by Peter Depietro, lyrics by Tom Chiodo, and Music by Galen Blum, Waynde Barker and Vinnie Martucci.
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 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.
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‘FUNNY GIRL’ NATIONAL TOUR IS JUST FINE BUT YOU’VE GOT TO SEE IT (REVIEW)
I was very curious to see that the national tour of Funny Girl was coming to Eccles this month because I saw this revival on Broadway when it was in previews back in 2022. I know Beanie Feldstein’s take on Fanny Brice was widely criticized and she only lasted a few months but I appreciate she brought something new to the role and it didn’t feel like a Barbra copycat.
Back in 2022 I think part of the reason it took Funny Girl so long to get a revival on Broadway is it is so defined by Barbra Streisand’s performance. She is Fanny Brice to most Broadway fans. She even won an Oscar for her role in the Funny Girl film in 1969.
After seeing Barbra (in film) and Beanie’s take on the role I was excited to see what the national tour could bring to it. Now that I’ve seen it I’m decidedly middle-of-the-road on it. It’s fine and worth seeing to check off a musical theatre bucket list but that’s about it. I probably won’t be itching to ever see it again. Twice is enough.
This touring production has Hannah Shankman playing Fanny and she is good especially on those long notes and delivers “Don’t Rain on My Parade” with gusto which is the most important song to nail. For “People” she is mostly an excellent singer but struggled a bit with the low notes. Her and Stephen Mark Lukas (he is very swoony) playing Nick Arnstein have terrific chemistry together and I bought them as a couple more than I did Beanie and her co-lead on Broadway.
The production also looks great with big marque lights of the Ziegfeld surrounding the stage and some scenes where we looked at the back of Fanny as she performed on stage. This helps immerse us in the story and feel a part of Fanny’s journey as a performer. There is some energetic choreography by Ayodele Casel and Ellenore Scott throughout especially from Izaiah Montague Harris who plays Eddie Ryan (although the script doesn’t really give his character anything to do. What is his point in the narrative?)
Speaking of the script that’s where Funny Girl has problems. Despite the updated book by Harvey Fierstein the story of Fanny and Nick’s love just isn’t that compelling. Particularly in the 2nd act things drag and it’s hard to care about what is happening on stage. I think one could easily cut 20 minutes from this show and it wouldn’t miss a beat (probably be better for it.) There’s only so many times Nick gambling and Fanny bailing him out can be compelling.
The other disappointment in this production is how small the ensemble scenes are. Fanny is a Ziegfeld performer so to only have a handful of dancers on the big Eccles stage for songs like “Rat-Tat-Tat-Tat” feels underwhelming. If the story isn’t going to entertain one hopes the spectacle will and it’s not the case here.
Still, I’d recommend seeing Funny Girl at least once for the iconic songs and the place it holds within musical theatre history. It’s far from perfect but worth checking out nonetheless. Funny Girl plays through Oct 13th and you can purchase tickets here.
Rachel Reviews Theatre 