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UTAH THEATRE LOG 9/30-10/7 (SOMETHING ROTTEN, ALICE BY HEART, JEKYLL AND HYDE) (RACHEL’S THEATRE LOG 59)
Hey everyone! I hope you are having a great week. Its been a fun time for me because I started a new part-time job last week, which is always an exciting if overwhelming experience. Plus, at Hallmarkies Podcast we are gearing up for the start of Christmas season coming up on Oct 18th, so life is as crazy as you’d imagine it being. Fortunately I still have time to see a lot of great theatre. Some I will do full reviews for as a critic and others are just the short logs as a patron. Here’s what’s been happening on the stage:
SOMETHING ROTTEN- EMPRESS THEATRE, MAGNA
First up there’s a new production of Something Rotten over at the Empress Theatre in Magna. This is such a charming little community theatre that almost always knocks the productions out of the park and this is another great example of doing that. Something Rotten may be my favorite comedic musical and even though I’ve seen it many times I haven’t gotten sick of it like I have other shows in the genre. It’s just that funny.
What was interesting about this production directed by Kylee Larsen is how stripped down and simple it is. For example in “A Musical” the musical theatre easter eggs were stripped down to just the music and dance without the visual cues I usually see. In contrast, at the recent production at Music Theatre West they had the entire ensemble wearing different costumes from musicals for the scene. This takes the opposite approach and I found it quite refreshing. It helps also that Caden Terry gave my favorite performance of the night as Nostradamus. He has terrific comic timing and sold the song well.
The rest of the cast is up for the challenge of the piece and there were very few technical gaffes during the matinee that I attended. The only persistent problem is they could turn up the microphone on Shakespeare (Bradley Barker) who was a lot of fun in the role but at times the music was overpowering his vocals. This is probably the only production I’ve ever seen where someone is credited as “Egg Creator.” It’s Ashley Loewer and she did a great job making the costumes for “Make an Omelette.” They have both cracked egg outfits and omlettes and both are very funny. Like I said, it’s just a funny show, and I hope I never get tired of seeing it. Something Rotten is playing at The Empress until Oct 19th and tickets can be purchased here.
ALICE BY HEART- WEBER STATE ARTS, OGDEN
I love seeing college productions especially if they are doing something new and experimental. The energy of the students is just infectious and inspiring. This is why I jumped at the chance to review Alice by Heart for UTBA this month. What I didn’t know then was that this review would end up being my last review for the site as I am moving on to other opportunities. I’m proud of the work I have done for them and grateful for everything I learned along the way.
In a way Alice by Heart was the perfect show for this moment because it’s a show all about saying goodbye to the people and things we love. The creative team (music by Duncan Sheik, lyrics by Steven Sater and a book by Sater and Jessie Nelson) have moved Lewis Carroll’s iconic story to a 1941 bomb shelter and Wonderland is an escape from the horrors of war.
While there are definite problems with this material the creativity of the students was so much fun to watch. I particularly loved the giant Jabberwocky puppet they created. You can read my full review here. Alice by Heart runs until Oct 12th and tickets can be purchased here.
JEKYLL & HYDE- HOPEBOX THEATRE, KAYSVILLE
I honestly think Hopebox Theatre in Kaysville is one of the more underrated company’s in this area. They not only have a wonderful mission of helping support those fighting cancer but they have never missed for me in a production. Even if I don’t love the show I always leave thinking they did a fantastic job with it. Such is the case with their new production of Jekyll & Hyde.
I saw the Silver Cast on Monday 10/7 and they are all really strong. Dugan Brunker is particularly great at the Hyde part of the title character. He could almost be Batman with that low gravely voice. Chelsea Campbell is another standout as Lucy really nailing her signature song “Someone Like You.”
The set is very impressive for the small space. I love how director Sadie Day uses practical effects as opposed to the digital AI projections which are all the rage in community theaters these days. The backgrounds have a charcoal quality to them and the way the set folded out to Jekyll’s lab was brilliant. The costumes by Torrey Woolsey were also stunning with layers to each look, even minor characters.
There are also some really creative choices like when they do “A New Life (Reprise)” different couples dance as Lucy imagines the kind of love and life she could perhaps have some day. It’s also a pretty racy interpretation (for Utah at least.) “Bring on the Men” doesn’t shy away from the sultry elements but that’s true to the story so I really enjoyed it. It’s nice when conservative companies take a little bit of risk and honor the stories they are telling.
I will always recommend seeing a show at Hopebox and Jekyll and Hyde is no different. It’s a sexy, exciting, good time at the theatre playing until Oct 26th. You can purchase tickets here.
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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‘LITTLE WOMEN: THE MUSICAL’ AT IDEAL PLAYHOUSE ASTONISHES (REVIEW)
The novel Little Women by Louisa May Alcott will always have a special place in my heart. It was the first big book I ever read. The first book I was proud of for finishing at around 8 or 9. I think as the oldest daughter in a family which would come to include 4 girls and having an independent streak like Jo I easily connected with it and have loved almost all adaptations of this material I’ve seen film or stage (we don’t talk about the modern version from 2018…) I’ve seen Little Women: The Musical many times over the years and really enjoyed it each time. The latest version is at the Ideal Playhouse in Heber and it’s a production worth your time and effort.
Little Women: The Musical came to Broadway in 2005 and helped Sutton Foster receive a Tony Award nomination for playing Jo. It has music by Jason Howland, lyrics by Mindi Dickstein, and book by Allan Knee. The production at Ideal is directed by Steve Anderson with music direction from Karyn Anderson.
One of the aspects that makes Ideal Playhouse so unique is the screens surrounding the viewer on all sides. I hope to see a concert or event film there soon because it adds a special element I’ve never seen before in a theatrical production. This was particularly neat in operatic tragedy numbers of this musical with the audience being surrounded by action and excitement. It is a cool way to differentiate the space from the many other local theatre companies.
They also have a terrific cast for this production with Ashley Bates as Jo, Lisa Blaser as Marmee and the great Michael McLean as Mr Lawrence. He mentioned on social media this is his first time playing a different character outside of his own material. I’ve seen McLean in The Forgotten Carols several times but it was super fun to see him stretch his acting wings here. I actually got to interview him during the pandemic and he is as friendly as you’d expect.
The highlights of Little Women: The Musical are the beautiful duet between Beth and Jo “Some Thing are Meant to Be.” It’s such a lovely song and performed with skill and chemistry at Ideal. I also love Marmee’s song “Days of Plenty.” The rest of the songs are fairly generic Broadway ballads and bops but certainly pleasant enough and well performed.
The costumes feel a little more Regency than mid-19th century but my favorite of the night was worn by Nicole Cable as Aunt March, and she is the costume designer for the production. All the other sets and transitions worked with the projections to create a warm and comforting atmosphere on stage.
There are times when the music overpowers the performers and there was a problem with the mics not being turned off when actors are off stage. You could hear little whispering off stage which can be distracting to what’s going on on stage.
Other than that, I really enjoyed Little Women: The Musical at Ideal Playhouse. If you are in and around Heber I recommend seeking it out. They also listened to my advise and lowered prices to under $30, which I appreciate. With children at just $14 this could be a great family activity especially young girls will love. Go out and watch something that’s astonishing! This show plays through Oct 12th and you can purchase tickets 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 9/23-9/29 (INTO THE WOODS) (RACHEL’S THEATRE LOG 57)
One of the impacts of transitioning away from UTBA to my own content is I will probably end up doing more full reviews on this site as opposed to these shorter logs. If I end up having a lot of logs like this with only one show mentioned I may have to come up with a different way of designating between an actual solo review and a log. Anyway, I ended up with just one show to talk about in this week’s log, so here goes!
Anyone who follows my content knows I’m not the biggest fan of Stephen Sondheim’s Into the Woods. If you want to hear me opine on why check out a recent episode of OnStage Blog Theatre Podcast
Nevertheless, I can be fair when looking at a production of Into the Woods and still assess whether it is well done or not. I saw the MWF cast at Centerpoint and am confident any fan of the show will love this take on the material. Director Jared Haddock hasn’t missed a beat in the production with a beautiful set (set designer Truxton Moulton) and quite possibly the most immersive depiction of the giant I’ve ever seen (Joshua Roberts and Alyssa Evans designed the lighting and sound respectively.) The costumes are also outstanding as usual with Centerpoint. (Stephanie Bruckman costume designer.)
The cast is also terrific with them having a young boy, Sam Akerlow, as the narrator, which adds some whimsy to the grim events not always present. Josh Egbert and Dan Frederickson are a ton of fun as the Princes (“Agony” and its reprise are my favorites.) McKelle Shaw is young and energetic with her take on The Witch with a gorgeous voice. She also has a very impressive quick dress change that’s exciting.
My only critique is the sound manager could work on the background music volume as it sometimes overpowers the performers, which can be distracting and ruin a moment. Centerpoint is such a great bargain for the quality of the productions. If you like Into the Woods you should absolutely check out this production. You’ll love it. It is playing at Centerpoint until Oct 19th and tickets can be purchased here.
but also a little not for me 😉
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 WOMAN IN BLACK’ AT THE COVEY USES THE BLACK BOX FOR PRIME SCARES (REVIEW)
It’s always nice when a company knows their venue and selects material that suit the space well. Such has been the case with the last several selections for the Covey Center for the Arts in their Brinton Black Box Theater. They recently did Wait Until Dark which was ideal for that small confined space and the same can be said for their latest production: The Woman in Black. This was my first time seeing this play and Covey was kind enough to provide me with a ticket and for 2 of my friends who were in town for the Fanx convention. This was above and beyond on their part, and I am sincerely grateful.
This review will probably be on the brief side because I don’t want to spoil any of the surprises for you.
As I said, this was my first time seeing this play although I am going to see it later in October at the Parker and evidently it has been playing on the West End in London for some time. The Woman in Black is a play by Stephen Mallatratt based on the novel by Susan Hill and it tells the story of a young man who travels to help settle the estate of a reclusive widow, Mrs Drablow. What he doesn’t realize is that the home is haunted by the Woman in Black of the title, and she does not plan on going away without a fight.
While the events of the play can be quite thrilling for some reason Mallatratt decides to set them in the construct of a play-within-a-play. This was confusing and rather tedious a set up that I just didn’t enjoy. However, once the actual characters and story starts everything perks up quite a bit. Act II especially is one thrill after another and I left feeling very satisfied with an exciting theatrical experience.
I’m actually surprised The Woman in Black isn’t done more because it has a cast of only 2 people making it very approachable for a community theater to put on. At Covey they have wisely cast Samuel Wright as the Actor and Mathew DelaFuente as Arthur Kipps. DelaFuente is one of the finest actors we have working in Utah today and he carries this production on his back and does so well. Especially as things became more tense and scary he commits fully to the moment which was impressive with so much being left to the imagination (even the dog is imaginary.)
Director Morgan Gunter uses DelaFuente and the simple sheer black curtains of a theater to create atmosphere and tone. Spencer Powell’s lighting, and the Robert Seely/Mark Pitt sound design are also critical in making the scares pop when they need to (and pop they do!)
In the end, The Covey’s The Woman in Black does take a bit to get going but if the audience can have some patience they will be rewarded with a fun night of scares and surprises. It might be too scary for young ones but anyone teenager age should be fine and they’ll have a great time. It is playing until Oct 21st 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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UTAH THEATRE LOG 9/17-9/22 (SWEENEY TODD, BRIGHT STAR, THE SEAGULL) (RACHEL’S THEATRE LOG 55)
Hi theatre friends! I hope you are doing well. I have had an eventful week with lots to report on and some changes to my process. First thing is I have decided to retire from UTBA. I am grateful for everything I’ve learned there and the opportunities I’ve received but it was time for a change. I should have one more review for them in October and then it’s moving on to new outlets including my own writing and podcasting.
On the same breath some new opportunities for this site are emerging including covering the Broadway Across America series! This is the first time I have been individually approved to cover the national Broadway tours and I’m thrilled. In addition, I am reviewing all the Hale Sandy shows and hopefully more as I continue to grow this site and find more venues interested in my unique brand of theatre criticism. If you know anyone looking to have their shows critiqued and publicized let me know!
With all of that I have 3 shows to report on in this post as well as a review for a new outlet to share. It’s an exciting time to be Rachel’s Reviews!
SWEENEY TODD- DRAPER HISTORIC THEATRE, DRAPER
Everyone who follows my writing knows I am a bit hit and miss when it comes to Sondheim. I don’t always love his work as much as others but I certainly respect him and all he was able to create over his career. One of his most iconic musicals is Sweeney Todd and I had a terrific time seeing it at Draper Historic Theatre last week.
I attended the show on Tuesday so I saw the Razor Blade cast directed by Melissa Van Dam with choreography from Mike Romney. It’s always amazing how much they are able to do with such a small space at DHT and such was the case for Sweeney Todd. This becomes particularly challenging with the setup for the chair and having it all feel believable but they used the space well and especially the bakehouse and furnace were very well realized.
The cast is also very talented with Jonathan Saul giving a sense of unease and mania to his Sweeney and Matthew Davids chilling as Judge Turpin. He was honestly one of the creepiest performances I’ve seen in years particularly in the scenes with Joanna.
One thing I realized in watching Sweeney Todd this time is how slow the first act is. Not much happens for that first hour. She doesn’t even start baking the pies until we are almost at the intermission. It’s one of those shows where act 2 is way stronger and more memorable than 1.
My only real complaint with this production at DHT is not every performance resonated with me. The projections were also not as effective as I’ve seen at DHT in other shows. Felt a little too modern for the story we are experiencing. Still, the show is a perfect way to ring in the spooky season, and I do recommend it.
Sweeney Todd is playing at Draper Historic Theatre until Sept 28th and tickets can be purchased here.
BRIGHT STAR, SCERA CENTER FOR THE ARTS, OREM
Everyone knows how much I love the musical Bright Star. In fact, I love it so much I felt it was worth it to drive down to Orem to see at Scera, even though they are a venue that I have my issues with. I just had to get my Bright Star fix!
This production is directed by Chase Ramsey and stars Kelsey Mariner Thomspon as Alice Murphy and Christian Wawro as Jimmy Ray. While both are more convincing in the older versions of the characters they still have a lovely chemistry and sold the more emotional moments effectively. My favorite interpretation by this production, however, came at the end when Alice Murphy and Jimmy’s father shake hands in a moving demonstration of forgiveness.
The only major critique I’d give is the set has a lot of doors and windows on it where they showcase various projections. The characters don’t use the doors much and I really don’t see what the connection is to the material. It was distracting to have such large visual elements of the set for seemingly no purpose.
Still Bright Star is a beautiful show expertly crafted and certainly one of my favorites. I don’t think I will ever get tired of it whether at the Scera or anywhere else. Bright Star plays through Oct 5th and you can purchase tickets here.
HARVEY- PG PLAYERs, PLEASANT GROVE
Now that I am retiring from UTBA it gives me the chance to look at other outlets I could contribute to and learn from the unique style each has (in addition to my own reviews and logs of course.) First up is my review of Harvey at PG Players for the Rhetorical Review. This is a site run by my friend Keolanani. I love how she gives all the information about the production but also includes a lesson or moral we can take away from the experience. This is a refreshing and fun way to look at a show and Harvey is a great one to start with as it offers so many life lessons.
The production at PG Players is outstanding as expected (they’ve never missed in the tiny library theater!) It is also special because the show is actor Dennis Purdie’s (who plays Elwood) 50th show for the company! Unbelievable. You can read my full review here. Harvey is playing until Oct 14th and tickets can be purchased here.
THE SEAGULL- STING AND HONEY COMPANY, SALT LAKE
I always appreciate when a company gives me a chance to check off one of my bucket list shows that I haven’t seen yet. It’s also nice when I get to see a new to me company like I did with Sting and Honey’s new production of Anton Chekhov’s The Seagull. It was a lot more engaging than I expected.
I’m not sure why but I was prepared for a stiff but proficient experience when I stepped into the Regent Street Black Box at The Eccles Theatre in Salt Lake. I thought it was going to be effective but boring but it actually proved to not be the case and even had more of a sense of humor than I anticipated. It’s not a laugh riot or anything like that but it also doesn’t take itself too seriously.
Javen Tanner directs this production of The Seagull and he smartly keeps things simple so that we can focus on the actors and all the drama they are experiencing. All the acting is excellent and it seems unbelievable such a small black box could boast such talent. I particularly enjoyed Trayven Call as Konstantin Treplieff and Ryann Bailey as his beloved Nina.
This adaptation of the Chekhov play is translated by Tom Stoppard and it focuses on the expectations we have for our loved ones and how those can uplift us but also cripple us if we are not careful. Don’t be afraid of understanding the production. This is a chance worth taking for a memorable night of theatre!
The Seagull plays through Sept 28th and you can find out more at the Sting and Honey website here.
Aside from the Harvey review I paid for these logged shows out of pocket. I’d love to cover as many local shows as possible but I need your help to do so. If you’d like me to review more theatre and appreciate what I do please check out the patreon here
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THE ELEPHANT DAZZLES MORE THAN THE STORY AT ‘THE MAGICIAN’S ELEPHANT’ AT HCT (REVIEW)(RACHEL’S THEATRE LOG 54)
One of the downsides of being a theatre critic that is not in New York or London is I do not get the chance to see many new productions. Often even a ‘new to me’ show by the time it arrives to Salt Lake already has baggage of expectations from their initial Broadway run. That’s why it is especially exciting when a company does get to premiere something new and fresh, and even if it is flawed I try to give some grace that the performance is part of the workshopping and testing phase. That’s why I have really appreciated the premieres Hale Center Theatre in Sandy has been doing over the last year or so. I’ve felt the company really pushing themselves and their audience which I find very admirable. And while their latest the US premiere of The Magician’s Elephant is probably my least favorite of their recent premieres I do appreciate the swing.
The Magician’s Elephant is a new musical based on the novel by Kate Di Camillo created by Nancy Harris and Marc Teitler. It was commissioned by the Royal Shakespeare Company in England and this production is directed by Hale favorite Dave Tinney. I have not read the book or seen the Netflix film but the plot about a town who find themselves blessed with a magical elephant and all the adventures that go around with that.
The reason I am being rather vague about the plot is because I honestly found it to be the most confusing aspect of the whole experience. The musical suffers from a wandering protagonist. One scene it seems to be Peter (Hyrum Smith) a young man looking for his sister. Then another scene it seems to be Leo (Keith Evans) who wants to have a baby with his wife but then there is a villain countess, a woman who becomes wheelchair-bound by the elephant, Peter’s sister Adele (Hailey Burnham) gets her own arc, and many more. At one point the Count (Brett Myers) get a whole song and I had no idea who he was or what was happening. Unfortunately this muddled plot caused me and the audience around me to be disengaged. A lot of people were visibly nodding off and one young lady gave up pretense and put her head in her lap to sleep
That said, if you can stomach the weak book the visual delights are very impressive. In particular the elephant might be the most stunning puppet I’ve seen on stage since The Lion King on Broadway. What was particularly amazing is how much emotion they were able to get out of this giant puppet as he gets more frail as the magic is weakened. He slumps down and the sounds get more frail and desperate. I was shocked how absorbed I was in the elephant’s story despite being less than interested in the humans around him! They even have a pink light in the center that pulses to show the elephants heart beating at different levels depending on the scene. The puppeteers behind the elephant deserve the highest of praise (Benjamin Tate, Miranda Renee Smith, Jessica Zoe Bird, Josh Durfey)
I also love the lighting design by Jaron Kent Hermansen with the blues and greens and the way the team uses the stage to create visual interest and has the action happening on any different levels at the same time. The singing is also across-the-board excellent even if the songs aren’t particularly memorable. My favorite song of the show is probably one called “Real Magic” sung by Peter, Leo and more.
Honestly I feel a little torn on whether to recommend The Magician’s Elephant. On one hand the elephant is just that great it’s worth a ticket but on the other hand the ticket price at Hale is so high I wish the story around the spectacle was more engaging. I guess one might consider this a mixed review but I give them full credit for at least trying something new and ambitious. The Magician’s Elephant plays at the Young Living Centre Stage at Hale Center Theatre in Sandy until Oct 19th and you can purchase tickets here.
If you’d like me to review more theatre and appreciate what I do please check out the patreon here. You will find the patreon has many benefits including watch alongs with writers and actors of TV and films and more. Please take a look.
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UTAH THEATRE LOG 9/2-9/16 (NEXT TO NORMAL, SOMETHING ROTTEN, MRS DOUBTFIRE, SANTINO FONTANA) (RACHEL’S THEATRE LOG 53)
Hi theatre friends! I hope you are doing well. I’ve been busy as usual supporting local theatre in any way I know how. Here’s some of what I’ve seen in the last 2 weeks.
SANTINO FONTANA- OPPA GALA DINNER AND CONCERT, LAYTON
As part of their annual gala dinner and Big Band Concert event On Pitch Performing Arts (or OPPA) had Broadway star Santino Fontana as their guest singer and he is every bit as great a performer as you imagine he’ll be. He sang a lot of obscure songs that I admittedly didn’t know but the quality of his voice is very pleasing to listen to. The highlight of the night was him singing “Love is an Open Door” from Frozen with a bunch of kids from the audience (see above.) All in all it was a very nice evening with good food, company, and music. Can’t ask for much more than that . For more about OPPA click here.
MRS DOUBTFIRE: THE MUSICAL- NATIONAL TOUR AT ECCLES, SALT LAKE
Every once in a while as a critic we end up having an unpopular opinion that ruffles more than a few feathers. Such is the case with my review of the national tour of Mrs Doubtfire: The Musical. Aside from some very impressive costume changes I found little to admire in this bland and movie adaptation. I know nation-wide the reviews were lukewarm of it but here in Utah everyone seems to have really loved it. As is always the case to each their own. I hope I defended my point of view as well as I could. You can read my full review here. To get a ticket to Mrs Doubtfire when it comes to your town look here.
I also wrote up a full review of Fiddler on the Roof at Empress to help UTBA out. You can read that review here.
SOMETHING ROTTEN- MUSIC THEATRE WEST, LOGAN
I was assigned to review Something Rotten at Music Theatre West in Logan for UTBA. They have yet to publish my review so I will just make a few quick points here. I’ve found with a lot of comedic shows the more I see of them the less I love them but that hasn’t been the case with Something Rotten. I think the reason it works better than a lot of other show in its genre is it is so consistently funny through both acts. If you don’t like one joke only a few minutes go before another joke comes and then another. The team at MTW is excellent with terrific chemistry and comedic timing between Sam Teuscher and Landon Weeks as the Bottoms brothers. Chris Metz also has the appropriate swagger for Shakespeare.
I was particularly impressed with how much dancing they worked into the show. It’s probably because director Stephanie Whte is also the choreographer. I swear there was tap dancing in practically every scene. I also loved the egg costumes in the “Make an Omelette” number. Very clever. In th end, Something Rotten at Music Theatre West is worth the drive up to Logan. It’s hilarious and highly entertaining. The Bard would be proud. It is playing until the 21st and you can purchase tickets here.
This is a coproduction with Cache Theatre Company.
NEXT TO NORMAL- OPPA MAIN STAGE, LAYTON
It’s interesting when I attend a particular company enough as a critic and patron I start to see where their strengths lie and where they tend to struggle. The more productions I see at OPPA in Layton the more I feel they are best when tackling the edgy and challenging material over the more fairytale, family-friendly variety. In fact, the very first show I ever saw at OPPA was their production of Rent a few years ago. (They have an education mission so I understand the need to produce the family friendly shows but my favorites have been the edgier ones.) This is definitely the case with their new production of Next to Normal. It’s a challenging show for any company to put on but this team directed by Todd Taylor is up for the task.
Next to Normal tells the story of a woman named Diana who has severe mental illness and the impact it has on her husband and daughter. I know many see husband Dan as the villain of this piece because he pushes her into treatments but I have a lot of sympathy for him. At OPPA Diana is played by Mindi Hansen and Dan is Nathan Sachs. Mental illness as severe as Diana experiences is extremely difficult to support and understand and I think Dan tries his best to be loyal and loving to Diana. At a certain point nothing will save her outside of her own determination and will power. Not medicine, not therapy, not treatments, not love. It’s just a tough situation and I have empathy for all of them.
The most important aspect of Next to Normal is the acting because it will not win over audiences on its music, which is fine but nothing special. Fortunately the cast is all strong at OPPA and left me pondering the themes of the material. Jacob Ericksen has probably the strongest voice of the cast as Gabe and Logan Kelley is understated yet effective as Henry.
My only big critiques is I probably had the worst seat in the house because I was right behind this doorway made by iron bars that obfuscated my view of the action and seemed unnecessary to the action. I also felt the wigs on the women were an odd choice. There’s no reason why Natalie needs black hair or Diana needs long brown hair. Their regular hair would fit the characters just fine, so the wig becomes a distraction to the audience.
Still Next to Normal at OPPA is definitely worth checking out. I would particularly recommend it for young adults and teens (it is R rated material but just language) as it should inspire a lot of conversation. It presents no easy answers which is powerful and true to live. You can find out more and purchase tickets here. It plays through Oct 5th.
If you’d like me to review more theatre and appreciate what I do please check out the patreon here. You will find the patreon has many benefits including watch alongs with writers and actors of TV and films and more. Please take a look.
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“OH WHAT A NIGHT” AT PTC’S ‘JERSEY BOYS’…(RACHEL’S THEATRE LOG 52)
Way back in 2005 a little jukebox musical first premiered on Broadway telling the story of Frankie Valli and the Four Seasons called Jersey Boys. This musical became a huge critical and financial success going on to win 4 Tony Awards and have over 4000 performances. Despite becoming a phenomenon it somehow eluded me and I had never seen it until this Friday with Pioneer Theatre Company’s new production. While I don’t have anything to compare the it to I left feeling energized and entertained, and I can see why it sets the standard for biographical jukebox musicals.
Jersey Boys has music by Bob Gaudio (the Bob from the band) and Lyrics by Bob Crewe. Of course it features the many hits from the The Four Seasons like “Big Girls Don’t Cry,” “Sherry,” and “Can’t Take My Eyes Off of You” which are all a lot of fun to hear performed on stage; however, the real standout of the show is the book by Marshall Brickman and Rick Elice. The problem a lot of biographic jukebox musicals have is they are so predictable in their rags-to-riches formula and then take themselves far too seriously. Jersey Boys sets itself apart from these copycats by being consistently funny and endearing throughout.
At PTC our 4 leads seem to understand this strength of the show and lean into the humor creating a believable chemistry as a group that makes us invested in what is happening to them. While they are all more convincing as older versions of the characters in act 2 they delivered the dialogue with terrific comic timing and the charm someone like a rockstar should have. Trevor James pulls off the falsetto needed for Frankie Valli but my favorite is Brent Thiessen as Nick.
I think Nick works the best because his section of the story is the most clearly defined. That’s one thing director Karen Azenberg could have emphasized more is making more obvious who is narrating each of the 4 acts. Nevertheless, they are all great in their roles, and like I said, the comedic elements kept it from feeling tired and cliched.
The technical elements of Jersey Boys at PTC is kept streamlined and simple with most of the backgrounds being stages, brick walls or a warehouse. The costumes are mostly various suits that are swapped in and out of quickly, but I wouldn’t have wanted anything more because the simplicity kept me focused on the actors on stage. The ensemble is also small but capable as they swap in and out of various roles. I particularly liked Timothy Aaron Cooper as ‘Joe Pesci and others’ who skillfully brings out the humor to any scene he is in.
The orchestra conducted by Phil Reno is always a standout at PTC, and they do an excellent job with these classic songs. There are times when the actors on stage are more convincing in “playing” the instruments than others but the actual orchestra is fantastic.
Adam Enrique Hollick and Daxton Bloomquist are also very strong as Tommy and Bob respectively although it feels like Tommy should have been far more grateful for Frankie literally saving him from prison than he was. Bloomquist did a good job capturing Bob’s subtle awkwardness so when he says he wants to stop performing in the band and just produce and write it isn’t a huge surprise.
Evidently down at Tuacahn they did a version of Jersey Boys with cleaned up language. While I have only seen this I prefer the more mature version as it feels authentic to the characters.
In the end, I’m grateful to Pioneer Theatre Company for giving me a terrific first time experience with Jersey Boys. The talented cast brought Frankie Valli and the Four Seasons to life with humor, humanity and terrific singing. You won’t want to take your eyes off of the stage! Jersey Boys is playing through Sept 28th and tickets can be purchased here.
Also the humor in this show makes it abundantly clear why the Clint Eastwood directed film adaptation failed so badly…
If you’d like me to review more theatre and appreciate what I do please check out the patreon here. You will find the patreon has many benefits including watch alongs with writers and actors of TV and films and more. Please take a look.
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UTAH THEATRE LOG 8/26-9/1 (DROWSY CHAPERONE, JANE EYRE, FIDDLER ON THE ROOF) (RACHEL’S THEATRE LOG 51)
Hi friends! I hope you are all doing well and enjoying live theatre wherever you might be. I have 3 shows to log from the last few days but also make sure you check out my full review for The Addams Family at Hale Center Theatre and The Secret Garden at Payson Community Theatre. I would love to do full reviews on every show I attend (let me know I’m available!) but I also enjoy these little logs so you know what I’ve been attending on my own dime.
FIDDLER ON THE ROOF- THE EMPRESS THEATRE, MAGNA
When a theatre company misses with a production I’m always hopeful the next show they can rebound and do something I love. Such is the case with the Empress Theatre and their new production of Fiddler on the Roof. While it is not the best Fiddler I’ve seen this year it was an enjoyable night of classic musical theatre and a significant improvement from their recent The Little Mermaid, which was not for me.
Fiddler on the Roof is of course the classic musical with book by Joseph Stein, music by Jerry Bock and lyrics by Sheldon Harnick. I recently saw an unforgettable version by High Valley Arts and the production at Hale Center Theatre was also solid so it’s been a good year for Fiddler productions in Utah. It has such beautiful songs and has the right balance of humor, drama, romance and emotion. Something for everyone.
At the Empress the community spirit shines through with everyone doing their best and the large cast having chemistry together. The highlights wereMarie Roe as Golde and Makayla Porter as Tzeitel. It was very carefully directed by Candice Jorgensen and my favorite parts were “Tevye’s Dream” where they brought in black light and fluorescent paint for the spirits (it sounds weird but it really worked!) I also really enjoyed the Chavaleh dance where they had both adult and child versions of Chava dancing to the piece.
They were also extremely fortunate that opening night went off without a hitch. No microphone gaffs to speak of which is a win for any community theater! There is some overacting they could work on- sometimes subtle and softer is the best way to go- but overall I enjoyed the production and would encourage anyone to check out Fiddler at The Empress. It is playing until Sept 14th and you can purchase tickets here.
THE DROWSY CHAPERONE- THE GRAND THEATRE, SALT LAKE CITY
I must say I consider myself a bit of an expert when it comes to The Drowsy Chaperone. I first saw it when it was just in previews back in 2006 and have seen it countless times since. Just this year I have seen it 2 other times. It’s a show that might be too inside baseball (or inside Broadway) for the casual viewer but for a veteran patron like myself it’s a both sentimental and hilarious.
Being an original work with music and lyrics by Lisa Lambert and Greg Morrison and a book by Bob Martin and Don McKeller it seeks to poke fun at the tropes and traditions of musical theater while also making a case for the good they can do in giving the audience a song to hum when they’re feeling blue. Such combination of humor and heart is what makes the show work.
A The Grand they have a very strong cast for all the leading roles Jason Campbell making a particularly snarky Man in Chair lead. As he tells the story of The Drowsy Chaperone the scenes come alive in his apartment and we get lots of laughs. I particularly enjoyed Lauren Slagowski as the Chaperone real life couple Morgan Fenner and Clayton Barney are a lot of fun as Janet and Robert respectively.
My only complaints with the production is they could have used the apartment more. Characters primarily came through the doors and with all that space they could have come up with more interesting ways for them to enter and exit. (In the Broadway version characters came out of stoves and ironing boards, which kept things surprising.) I also wish they would lower the price at The Grand. As it is $35 is cost prohibitive for so many who would enjoy it and the space is so large it always feels sparsely attended even if it is a decent crowd. I was also happy to see they did the monkey not bunny version of “Bride’s Lament.”
The Drowsy Chaperone is directed and choreographed by Jim Christian and will be playing until Sept 14th. Ticket scan be purchased here.
JANE EYRE- THEATRE RALEIGH, VIRTUAL PREMIERE
One of the coolest parts of the pandemic (that sounds weird to write but it’s true!) was how the arts was forced to get online and join the streaming scene. As such I was able to enjoy film festivals and theatre companies from around the globe from my home. While nothing will beat in-person attendance, streaming is a wonderful service we should not give up on as we strive to rebuild the arts and make it fulfilling for all involved. This weekend Theatre Raleigh in Raleigh, North Caroline hosted a live stream broadcast of their production of Jane Eyre. I jumped at the chance to watch this because I love this musical and it’s rarely performed but also I had just interviewed the composer and lyricist Paul Gordon a few months ago. You can watch that interview here.
Jane Eyre is based on the classic novel by Charlotte Bronte and has a book by John Caird. The last time I saw it was when Hale Center Theatre Orem did it in 2016 so it’s been a long time and I don’t know why it isn’t done more because it’s a beautiful piece. Theatre Raleigh went all out for this production with Julie Benko playing Jane and she is such a gorgeous singer and moving actor. Matt Bogart makes for a very attractive Rochester although they could have given him a little more makeup for the final scenes. He’s almost too good looking post fire! Ada Manie is the other standout. She is truly incredible as the Young Jane/Adele even playing characters with different accents in the same show effortlessly.
It was also a well filmed proshot with different angles and close-ups of the actors when it required. If it was available to purchase I totally would do so. My only real complaint was in the 2 most romantic scenes, the proposal and reunion, the director Megan McGinnis kept Jane and Rochester apart for most of the scene. They are such intimate scenes that having them on separate parts of the stage was an odd choice.
Nevertheless, I applaud Theatre Raleigh for doing this live stream and I will definitely make sure to attend their theater in person if I ever get the chance. I hope more companies around the globe follow their example and we see many wonderful productions like this wonderful Jane Eyre. To learn more about Theatre Raleigh click here.
All of the shows logged here I paid for out of pocket. I’d love to cover as many local shows as possible but I need your help to do so. If you’d like me to review more theatre and appreciate what I do please check out the patreon here. You will find the patreon has many benefits including watch alongs with writers and actors of TV and films and more. Please take a look.
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HCT’S ‘THE ADDAMS FAMILY’ BRINGS ALL THE GHOULISH FAMILY FEELS (REVIEW) (RACHEL’S THEATRE LOG 50)
Last year I did a fun post for OnStage Blog where I ranked 11 Halloween themed Broadway shows. I won’t tell you where The Addams Family landed but it is unquestionably the most popular of the grouping. Regional theaters in our fair state and abroad have embraced this fun romp about the family that loves the macabre. Now Hale Center Theatre in Sandy is putting on this popular show through Nov 16th and it’s a good time for the entire family
Based on the comic strip by Charles Addams The Addams Family has music and lyrics by Andrew Lippa with a book by Marshall Brickman and Rick Elice. I won’t go into it all here but it’s a show with a fascinating evolution as it was continually reworked on its way to regional theater success.
With the production at HCT director Rob Moffat and team have nailed the most important aspect of The Addams Family– the family. The casting is spot on with Josh Richardson leading the way as the patriarch Gomez and Bailee Morris as a seductive Morticia. With these leads cast correctly half the battle is done, and HCT struck gold with these two. They have terrific chemistry together and Richardson and was particularly endearing in the best song of the show “Happy/Sad.” I also loved the choreography by Lindsey D Smith in numbers like “Tango de Amor.”
The sets by Jenn Taylor are perfect for capturing the mood and tone of the piece. In particular a 2-sided spiral staircase that was moved around to make room for many different parts of The Addams house and some of the projections by Maddy Ashton were fun like the lady on the moon winking at Festor (Dallin Bradford). Others, however, I didn’t care for as much like the giant topiary hand which looked rather garish and not in the way the Addams would approve of.
The costumes by Candice Nelson are also strong. I particularly loved the yellow dress for Wednesday (Tearza Foyston), which had just enough black to suit her personality. In addition, the costumes for the ancestors are textured and beautiful. Foyston and Richardson have a wonderful father/daughter dynamic and like I said “Happy/Sad” is the highlight of the show.
Any other complaints I have with The Addams Family are more with the show itself and there’s nothing HCT could do about it. I really dislike the “Full Disclosure” number that ends Act 1. It’s such a long sequence and nothing but a giant exposition dump mostly for the Beineke’s who I don’t care about. If it were up to me I would excise the Beineke parents completely from the show. They add little and are distracting from our main family and the relationship between Lucas (Danny Kenny) and Wednesday.
Pugsley is triple cast and the night I attended was played by John Wakley and he did struggle with the high notes in “What If” but Hiedi Mendez is a hoot as Grandma Addams. All in all it feels like a family on stage and that’s what you want out of this show. The Addams Family at HCT is a ghoulish delight perfect for this Halloween season. Take the whole family or make it a date night with you and your punishing partner. The production plays through November 16th and tickets can be purchased here.
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