I have only seen the play Peter and the Starcatcher one time before but I was not impressed with the material so I was a little anxious when I was invited to review it again for The Empress Theatre’s latest production. Fortunately, while I still do have issues with the play itself they did all they could to bring a playful energy to their staging that I do appreciate.

The cast is all solid with them embracing the playful nature of the production. Alexander Richardson gets the most juicy part as Stache but I really enjoyed Gwen Jonsson as Smee especially her puppetry work with the parrot. Koda Smith and Camille Bassett are both sweet and endearing as Peter and Molly respectively.

Directed by Beth Bruner I love how everything felt like it was part of a children’s imagination. Most of the props are things made from other things- a brush made into a microphone, a twister wheel used to steer a ship etc. If you think about it that’s how kids play- combining lores, playing dress-up and imagining items are different than they are. It’s charming and helps forgive problems in the script.

Speaking of those issues particularly in Act 1 with 2 separate narrations going on it can be very confusing what is happening and even who the characters are. I wish I had a paper program that might provide a little insight into what is happening but alas we are left to seemingly pure randomness. In Act 2 things start to coalesce a little better with the pirate Stache and Peter Pan after the same trunk of treasure. We also get the Easter eggs to Peter Pan with Stache losing his hand, introduction of The Lost Boys and the discovery of Neverland.

All that said, the production at The Empress did all they could to make this unwieldly play work. If you are looking for something to take your kids to that might inspire some creativity from them it is a good choice. Unfortunately the run ends tonight but they have Murdered to Death murder mystery coming soon. Information on tickets can be found here.

Peter and the Starcatcher is a play by Rick Elice based on the novel by Dave Barry and Ridley Pearson. It provides backstory to the characters of J.M. Barrie’s Peter and Wendy which is both a play and novel. It first opened on Broadway in 2012 and then an Off-Broadway run in 2013.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Review by Jen Edwards

If you haven’t seen the musical Bright Star yet, you should. Written by Steve Martin (yes, that  Steve Martin) and Edie Brickell, this bluegrass-infused gem is set in North Carolina’s Blue Ridge  Mountains between the 1920s and 1940s. It tells a moving story of love, loss, redemption, and  reunion, anchored by the “Bright Star” of hope and second chances. 

The Sandy Arts Guild’s production, now playing at the Theater at Mount Jordan, delivers an  emotionally rich and musically incredible performance that rivals any professional staging. I’ve  seen several versions of Bright Star, including one with much of the original Broadway cast, and  this local production really holds its own – especially in the storytelling.  

Leading the charge is Ashley Shamy as Alice Murphy, who brings both emotional depth and  vocal brilliance to the role. Her vocal performance is a perfect blend of strength and  vulnerability, capturing the distinct twang and soul of bluegrass with authenticity. Shamy  doesn’t just sing; she tells a story with every note. The Billy (Joel Peterson) and Margo (Eden  Rhodes) are also standouts, but the entire ensemble is great – providing tight harmonies,  vocally, comedically and dramatically. Director David Hanson clearly understands the emotional  core of this musical. Hanson balances humor and heartbreak seamlessly, and grounds the story  with clarity and heart.  

The live performance of the on-stage bluegrass band energizes every scene, adding a genuine  rhythm to the storytelling. The banjo-led instrumental number at the top of Act II is foot stomping fun. The sets/moving set pieces and lighting worked well to transform the middle  school theater into a true Broadway stage. A few minor microphone and sound balancing issues  were the only distractions from the magic of it.  

I laughed, I teared up, and I left the theater humming. I was captivated. Sandy Arts Guild’s  Bright Star is just so good. As Alice says, “if you knew my story, you’d have a good story to tell”.  And this is a story well-told. 

Don’t miss it. Only 5 shows left. Tickets can be purchased here.

Bright Star has music by Steve Martin and Edie Brickell with lyrics by Brickell and a book by Martin. It premiered on Broadway in 2016 and was nominated for 5 Tony Awards.

I’d be interested in having more friends reviews shows I can’t get to especially in Northern and Southern Utah. If you are interested please message me on social media or email me at rachelsreviews65@gmail.com. Thanks Jen for doing this one!

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Any seasoned theatre-goer will tell you that sometimes the talent elevates the material they are given. Whether it is the actors chemistry together or the direction they are given by the director a quality production can take something that’s weak and make it entertaining to watch. Such is the case with Salt Lake Acting Company’s new play, The Roommate, which is a show I still recommend but because of the leading ladies more than what playwright Jen Silverman has given them to perform.

The play focuses on Sharon (Dee-Dee Darby-Duffin,) a recently divorced woman in Iowa who invites Robyn (Annette Wright) a transplanted New Yorker to become her roommate. 2 women from different backgrounds that share some life experiences (for example, they are both estranged from their children) is enough to tell a compelling story. Sharon could begin dating again, as she does in the play. They could both work to reconcile with their children or any number of relatable and understandable life situations. Instead Silverman decides Robyn being ‘quirky’ means she’s into credit card fraud and smoking pot. I suppose I can understand a sheltered woman like Sharon being tempted by illicit activities but she would at least have some reservations when it actually comes down to swindling her neighbors and associates. Either way, it took me out of the play making the whole experience less effective than it could have been.

All that said, both Darby-Duffin and Wright are excellent in their performances giving as much heart to the story as they possibly can, and I believed they are genuine friends. In the talk-back after Wright said it is fun for them because they are cast against type as she usually plays more naive roles like Sharon. In many ways that sense of awkwardness works for these characters who are both stepping outside their comfort zone taking on a new roommate.

I do want to say I really appreciate the warm and friendly atmosphere over at SLAC. They not only welcome each group to their shows but gave me a personalized thank you card for covering/attending their upcoming season. It might seem like a small detail but it helps endear a patron to the company even if the play isn’t perfect (I absolutely adored their Bat Boy earlier this year.) This production of The Roommate is directed by Teresa Sanderson, and she has gotten the most out of her actors. The set by Spencer Potter is a believable Iowa kitchen (although there are some conveniences in Silverman’s script that have to be ignored like Robyn never unpacking her kitchen supplies or even moving them from the porch but oh well.) They also actually drink coffee and pour actual almond milk from a carton on the fridge and little details like that help add to authenticity in a play like this.

If any of my readers have seen a production of The Roommate I’d love to know what you think. It is playing through October 26th with a matinee on Sunday. Tickets can be purchased here.

The Roommate is a play written by Jen Silverman in 2015 and it first premiered on Broadway in 2024.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Obviously different theatre can entertain in different ways. Some of it is funny. Some dramatic. Some stand out for dancing. Others incredible singing. All that is great but it’s really nice when a piece of theatre delivers all of those attributes in one show. Basically I leave the theater having been thoroughly entertained. Such was my experience seeing Hopebox Theatre’s new production of The Scarlet Pimpernel. It’s a blast that I highly recommend.

I give this recommendation and yet I admit the show itself for The Scarlet Pimpernel I think is pretty mediocre. It’s not bad but it drags out and the songs are mostly forgettable. Fortunately, the team at Hopebox led by directors Becca Rhodes and Spencer Bawden have taken flawed material and made it as fun and energetic as possible. It’s not an easy task they have done and I admire them for it!

I saw the Teal cast and it is uniformly strong. Spencer Ford is charming and sweet as Percy in the lead. Megan Derrick could be more consistent with her accent but she has a beautiful singing voice as Marguerite and our team of fluffy men or ‘Percy’s Bounders’ are all a hoot to watch. Braden Hull also gives just enough irritation at Percy to make Chauvelin entertaining.

The technical aspects of the production are also strong although I have noticed a little more minimalism at Hopebox lately. I’m sure budgets have been cut this year (the priority is to fundraise for their Hopebox recipient so I get that.) It’s just productions like last year’s Oliver! were so rich and layered that a simpler set like we had here stands out. The most impressive aspect was the choreography by Wyatt Welch. Again they have a small space and a large cast but they keep everyone moving and dancing. I particularly admired the party scene where Marguerite is trying to get clues while the ensemble is ballroom dancing. There’s also a really fun sword fight at the end where Marguerite even gets a bit of the action.

Of course, Hopebox is not just a show but a community service project where one can help them fundraise for their recipient fighting cancer. It’s a wonderful mission but I appreciate they don’t lean on that mission to excuse poor shows. They use it as a catalyst to be the best they can be and that’s certainly the case with The Scarlet Pimpernel. It’s a great night of community theatre and worthy of your time. Sink me but it’s a terrific show! It is playing through November 1st and tickets can be purchased here.

The Scarlet Pimpernel has music by Frank Wildhorn and lyrics and book by Nan Knighton based on the novel by Baroness Orczy. It debuted on Broadway in 1997 and ran for 772 performances.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Any Broadway fan knows that every hit movie is turned into a musical these days so it was only a matter of time before the massive hit 1990’s Ghost got the musical treatment. In a way I think it’s a bit of a shame because I’ve seen it twice now and both times I wish it was a straight play and not a musical. Alas, we have Ghost: The Musical, and it is currently being put on at Heritage Theatre in Perry. It is not a perfect production but worth supporting a company trying to push themselves and grow beyond safe, expected material.

If you have seen the movie the plot for this adaptation is basically scene-for-scene the same with of course songs added in. It tells the story of a couple, Sam and Molly, who are separated when he is murdered in a violent attack. Being a victim of a crime, however, Sam stays on Earth to try and help his wife and to make sure the murderer is caught and punished. Helping him in this goal is a medium named Oda Mae Brown, who is memorably played by Whoopi Goldberg in the film (she won an Oscar for the role.)

At Heritage Ghost is directed by Breanne and W. Derek Hendricks, and I admire the visual effects they develop throughout the show with lighting designer Chris Ward and projections that helped create the alternate realities needed for a ghost and human interactions (strobe lights are used as well as fog and walls made out of fabric.)

I also really enjoyed the acting with Luke Merkley and Hannah Atkinson having nice chemistry together as Sam and Molly respectively with them both being able to pull off the more emotional sections. Jazmine Peterson steals the show as Oda Mae with all the personality and humor one could bring to the character. Sam Bakker is appropriately skeevy as the villainous Carl.

The downside to the production is the singing. Part of it is probably opening night jitters but the singing wasn’t as accomplished as most of the performances at Heritage are. I know they all did their best, but they can keep on working on that aspect to improve over the run. It doesn’t help that the songs themselves are bland and outside of “Unchained Melody” completely forgettable. Like I said, I wish it was a straight play instead of a musical but that’s just me.

Even with flaws I’m still glad I saw Ghost: The Musical at Heritage Theatre. It’s a theater that is everything I could ask for in a community theatrical company, and I’m glad they keep challenging themselves with less-performed works like this. With the romantic themes it would make a good date night and the tickets are very affordable. It is playing through Oct 25th and tickets can be purchased here.

Ghost: The Musical has music and lyrics by Dave Stewart and Glen Ballard with lyrics and book by Bruce Joel Rubin. It is based on the 1990 film with a script from Rubin who won an Oscar for Best Original Screenplay for his work. The musical premiered on Broadway in 2012

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Hi theatre friends! I hope you are doing well and enjoying lots of great local regional theatre wherever you might be. I am as busy as I’ve ever been with a movie or piece of live theatre to review almost every night, sometimes multiple in a day. It can be overwhelming but I’d say it’s a happy problem to have to have too much cool stuff to review.

I am still co-hosting the Onstage Blog Theatre Podcast, and we had a pretty fun episode this week. Jacks and my friend Marc joined me to give our ‘pitches’ for what we think would be good investments for shows on Broadway. Give it a listen and let me know which of our ideas you like best:

If you are new to my site I have my normal reviews which I write for theatre I am requested to critique by the company but then I also have these logs I do periodically for shows I see as a patron. Fortunately most company’s want me to review their shows these days so I may have to come up with a different system in the future but for now this works. Today I have 2 quick shows to log but please make sure to read my longer reviews of the many terrific local productions I have written about recently

The Hunchback of Notre Dame- Scera Center for the arts, Orem

Of all the Disney theatrical productions the one I have surprisingly seen the most times is The Hunchback of Notre Dame (even more than The Little Mermaid which caught me off guard.) This is perhaps even more surprising when if you know I’m not the biggest fan of the animated film which it is based on. I admire the chutzpah of it, but I don’t think it all works as a family film. Anyway, I had the chance to see a production at Scera Center for the Arts in Orem and it was another terrific staging of this classic story.

This show was directed by Michael Carrasco and his 2-story set was the biggest standout of the night. The set felt both rich in details while also allowing them to quickly transition from the cathedral scenes to the pubs and Court of Miracles. The costumes (Kelsy Seaver) and make-up (Becky Cline) particularly with the gargoyles and Saints characters that looked extremely convincing as made of stone.

The cast was all excellent with Benjamin Oldroyd playing Quasimodo with authenticity and relatability that can be missing from some portrayals (the character can feel tokenizing in the wrong hands.) I particularly liked how they worked in the sign language of the character into the portrayal. He was surrounded by a strong ensemble with Andrew Lambert as the villainous Archdeacon Frollo.

Unfortunately The Hunchback of Notre Dame just finished its run at Scera but if you are in Utah County Scera is a good option for musical theatre as their shows are almost always worth watching (both their outdoor shell in the summer and indoor shows the rest of the year.) You can find out more about their company here.

Satisfied- Feature Film Documentary

I normally review films over on my film site but since this documentary has a theatrical component I decided to mention it here. It’s called Satisfied and it is about Broadway singer and actress Renee Elise Goldsberry who originated the role of Angelica in Hamilton on Broadway. But the documentary goes beyond that and focuses on her struggles to balance out motherhood of her 2 small children with such a demanding job and role.

I think a lot of women will relate to what Goldsberry is going through and the documentary does a good job of making this exceptional experience of Hamilton feel grounded and easy to relate with. It’s also fun as a theatre fan to see the early start of such a musical phenomenon and how various aspects were workshopped and changed before premiering on Broadway in 2015.

I’m not sure what streaming service Satisfied will end up on but if you are a Broadway fan or just interested in stories about dynamic women/mothers Satisfied is definitely worth a watch. You can pre-order it on amazon here (ad.)

The Huncback of Notre Dame has music by Alan Menken and lyrics by Stephen Schwarts with a book by James Lapine and Peter Parnell. It is based on the animated film from 1996 and the novel by Victor Hugo.

Satisfied is directed by Chris Bolan and Melissa Haizlip and is a documentary with interviews of Goldsberry, Lin-Manuel Miranda and more

These logged shows I usually 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.

If someone is a movie fan long enough they will inevitably find those classic films that they don’t respond to the way they should. One such movie for me is the classic comedy Some Like it Hot. For whatever reason I didn’t find it funny or amusing although I could see why audiences on its release found its antics quite outrageous. It is with this experience I was not excited when I heard a Some Like it Hot musical was coming to Broadway and my meh attitude continued when it was announced as part of the national tours at Eccles in Salt Lake. Perhaps it was helped by these low expectations but you can imagine my surprise when I saw the show Tuesday night and was completely delighted with it. What an energetic, exciting homage to old school musicals in the style of Cole Porter and the Gershwins. I loved it and highly recommend all of my readers go and see this hugely entertaining show.

Like I said, Cole Porter is the composer I kept thinking about most as I watched the show play out (especially in the Act 2.) I would love to ask the creators but I imagine they were as influenced by Anything Goes as they were by the film Some Like it Hot. Even the stories are quite similar with both being about people hiding out from organized crime with lots of tap-dancing good times to be had!

If you haven’t seen the film, Some Like it Hot is about 2 brothers, Joe and Jerry (Matt Loehr and Tavis Kordell respectively,) who witness a mafia massacre and hide in drag with an all-female jazz band led by a woman named Sugar (Leandra Ellis-Gaston.) The band is run by the soulful Sweet Sue (Tarra Conner Jones.) To be honest, the plot is really just an excuse for a lot of song and dance numbers (as is the case with Anything Goes) but I didn’t care. When the singing and dancing is this good I’m on board for all of it!

They did try and modernize the script so that Jerry/Daphne’s transition to womanhood is more empowering and less of a joke, which is nice, but it always feels authentic and endearing- not preachy or overbearing. The real surprise in the cast is Edward Juvier as Osgood Fielding III. He is a delight both as a singer and dancer in all of his songs but “Poor Little Millionaire” and “Fly, Mariposa, Fly” really took down the house (the latter reminded me a lot of “Blow Gabriel Blow” from Anything Goes (sorry to keep mentioning that comparison but it’s true!)

All the production elements for Some Like it Hot are first rate with costumes by Gregg Barnes that sparkle and shine while making the men beautiful whether they are men or women. It’s no big surprise to me that director Casey Nicholaw is also the choreographer because they get the most of the large ensemble in every big group scene. It is a long show (2 hr 45 min) but especially with Act 2 picking things up I didn’t mind the pacing. There are some wonderful sets by designer Scott Pask. I especially loved the starry sky ballroom created for “Dance the World Away” where I felt transformed to an Astaire/Rogers movie scene.

Like I said, the show is long and some may find the story too flimsy, but I didn’t mind it. The sound mix could be better, not allowing the orchestra to overwhelm the talent. The singers could also enunciate better as it is often hard to understand what they are singing about especially Jones as Sweet Sue (also the bad sound dynamics at Eccles doesn’t help with that problem.) Other than that, I was thoroughly entertained by Some Like it Hot, and I’d see it again if I had time. That’s how much I enjoyed it. It is playing through October 5th and tickets can be purchased here.

Some Like it Hot has music by Marc Shaiman and lyrics by Shaiman and Scott Wittman with a book by Matthew Lopez and Amber Ruffin based on the classic film by Billy Wilder. It premiered on Broadway in 2022 and played for a year before going on tour.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

When I first saw Sister Act was on the Hale Center Theatre schedule this year I let out a little groan. It’s not that I hate the show it’s just performed a lot and it seemed like a real bland pick. Well, it just goes to show one should always keep an open mind because I saw their production on Saturday and thoroughly enjoyed it. It’s a sweet, entertaining and well performed piece of musical theatre.

If you don’t know Sister Act is based on the classic 1992 film starring Whoopi Goldberg and Maggie Smith. That movie was set in 1992 in Las Vegas but for the musical they move it back to 1978 and to Philadelphia. This is a smart move by the creators because it allows the productions to embrace the disco sparkle of the late 70s and they certainly do at Hale especially the sparkly costumes by Joy Zhu. It also helps keep things grounded so we don’t have to worry about the nuns and their singing hitting big on tiktok or anything like that.

I saw the TThS cast and it is excellent across the board. Deloris Van Cartier is played by Mack and Mother Superior is my old voice teacher Amanda Crabb (one of the best roles I’ve seen her in. She’s basically a co-lead.) This musical, however, is all about the sisterhood (pun intended) and they are all very lovely and have nice chemistry together. It’s always a little surprising how dark things get with the villain Curtis but they are trying to hide Deloris from criminals so some sense of danger is appropriate. Aioleoge Lesa is sniveling and fun as Deloris’ mob-boss boyfriend Curtis. He has a deep booming voice that is very memorable.

For the most part the songs are just ok in this musical with pleasant Alan Menken music and reliably bland lyrics from Glenn Slater. The two highlights are in Act II with Mother Superior singing “I Haven’t Got a Prayer” which Crabb sings powerfully and “The Life I Never Led” sung by Sister Mary Roberts played by Makenna Ashby. The latter might be Slater’s most touching lyrics he’s ever written or maybe I just connect with it as someone who always stayed pretty close to what was expected of me by my faith and loved ones. I also really enjoyed Christian Patrick Wawro as Eddie and his song “I Could be that Guy.” He and Mack have nice chemistry together and their romance is a fun side story to the main plot.

This production of Sister Act at Hale uses their main stage in just the right ways so it adds spectacle without getting distracting. Director Dave Tinney has gotten the most out of his cast and everything moves and flows from scene to scene with ease. I also liked the projections and stained glass by Madeline Ashton and scenic design by Danna Barney and Ryan Simmons (they have a very cool old TV prop visual effect that is a nostalgic throwback to the 70s.

Even though it does have some dark moments and themes Sister Act at Hale is still something that most families can enjoy together. Certainly if you’ve seen the movie you’ll be fine with this musical (although it has completely different songs than the movie) version. I bet it will make you want to praise the Lord you’re enjoying it so much. It is playing through October 25th and tickets can be purchased here.

Sister Act has music by Alan Menken with lyrics by Glenn Slater and a book by Cheri and Bill Steinkellner. It is based on the 1992 film with a screenplay by Joseph Howard. It premiered in the West End in 2009 and on Broadway in 2011

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

One of the best hidden gems I have discovered since I started supporting local theatre after the pandemic is the good folks over at PG Players in Pleasant Grove. It’s actually at a tiny theater in the Pleasant Grove Library and I have loved almost everything I’ve seen there. This last weekend I saw their production of the play The Foreigner and it’s had me thinking about it ever since.

On the surface the elements of The Foreigner are quite simple. It’s a farce about an Englishman who while visiting a lodge in small-town Georgia tells the people he doesn’t speak any English. Given it was written in 1983 it’s more believable that the people would be less experienced with visitors from other nations and would take the man and his story on face value (it’s basically like early catfishing without a romantic component.)

The cast at PG Players is all excellent with Cam Bronson doing a great job with the physical comedy in the role- he barely speaks in the entire first act. In many ways it has the spirit of a silent movie with the big and bold expressions needed to carry the emotion since he cant talk. I particularly like how we can see him dying to speak out when the racist characters are spouting nonsense.

Speaking of the racists it is this facet that has gotten me thinking since I saw the play. There is a plot element where several characters are members of the Ku Klux Klan and they end up attacking the other characters in their robes and all. I should state they are never presented as anything but complete villains and they are defeated in the end but I’d be lying if I said I didn’t find their inclusion troubling. Just seeing a place like PG Players with those horrible robes and people is upsetting.

Then I thought about it and wondered why it bothered me when I had seen actors in Nazi uniforms at The Sound of Music multiple times this year? I don’t even know that I have a good answer. It just did. I know some other local productions of The Foreigner do not have the KKK robes and just have them as run-of-the-mill racists, and I can see why a company might make that choice. However, on the other hand pretending evil doesn’t exist isn’t the right answer either.

Maybe part of it is The Foreigner is a comedy where The Sound of Music is not but what about a comedy like The Producers? I honestly don’t know what the answer is, and I’d love some insight from readers.

Anyway, back to PG Players… most of the comedy of The Foreigner is quite lovely with Debra Fink’s innocent Betty Meeks making a nice foil for Bronson’s physical comedy. Maxwell Warren’s Ellard Simms is also very sweet and endearing.

The production is directed by Howard and Kathryn Little who I have interviewed in the past and they have a gift of bringing the most out of their actors and making the best use of the small space at the library theater. Particularly in the second act I was impressed how they created lightning and a realistic thunderstorm on such a limited stage. With the costumes and props it seemed to say this is taking place in the 1980s but then Froggy (Wesley Clark) seemed like a character from the 40s. The timeframe could have been more clear. Also in Act 1 a fair amount of white noise came off the speaker which can be distracting.

Because I found the Klan element to be so shocking I’m underselling how funny most of The Foreigner is. It really is quite an enjoyable experience for most of the play. I know it has been performed all over the valley at different companies so I’d love to hear what any of my readers think of it and if you see it at PG Players let me know. It is playing through October 13th and tickets can be purchased here.

The Foreigner is a play by Larry Shue and was first performed in 1984 where it played Off-Broadway for 686 performances.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

I admit when I saw they were putting on The Full Monty at The Grand I rolled my eyes and was pretty skeptical of it being the real deal musical I had heard about. Usually with permission from MTI we end up getting the ‘Utahfied’ version of edgy shows that are cleaned up to make them more PG-13, family friendly (see recent versions of Jersey Boys for examples.) I know The Grand has done edgier shows in the past but I just didn’t think they would actually do The Full Monty in its full version (pun intended,) but I’m delighted to be proven wrong. Not only is this a very funny show but it’s actually quite sweet with a nice message at its heart.

Anyway, if you don’t know The Full Monty tells the story of a group of laid off steel workers in Buffalo, New York (the movie is in Yorkshire, England) who decide to learn to be exotic dancers to try and make ends-meet. There aren’t many shows that deal with male insecurities both with their bodies and relationships, and I found the dialogue in this musical to be quite sweet and endearing. I’m also a sucker for a friendship story so I enjoyed that element as well with the men of different ages and personality types coming together to support one another.

Aaron Naylor leads the cast as Jerry Lukowski who is trying to get money for custody battles with his son (the one content element I don’t love is when they have son Nathan swearing but that’s just me.) Friend Dave Bukatinsky (Trevor Blair) is the most insecure of the men about his body being the most overweight although his relationship is probably the strongest out of the men (although that has its challenges.) The group is rounded out with Darrin Burnett (who is a favorite local actor of mine), Skylar Hawker, Kiirt Banks and Ian Fernandez Andersen. Like I said, the men all have a nice chemistry and their friendship dynamic together really works. It’s also a meaningful show about marriage and how different couples communicate effectively together. In addition, Brandwynn Michelle is very funny as the chain-smoking accompanist for the boys.

As the name would suggest, the stage is large at The Grand but the set by Halee Rasmussen uses the space effectively and makes the transitions quick as the setpieces fit together like puzzle pieces. It makes it easy to go from a club, to a bedroom, to a bathroom. They also have a full band led by Ginger Bess Simmons and that always adds a polish to a production I appreciate. This show is directed by Michelle Lynn Huftalin and Briana Lindsay Fisher, and it is the best thing I’ve seen at The Grand this year. It’s a charming and very funny night of community theatre.

The only downside to the show is the pacing dragged at times. I don’t know there is anything The Grand could have done about that (like I said the set made transitions really quick) but like most Broadway musicals these days it could easily have 2 or 3 songs cut and be the better for it. Still, I’d recommend The Full Monty for anyone looking for a sweet and edgy musical for adults to enjoy. It honestly would make for a great date night choice and tickets can be as low as $30. It plays through Oct 4th and tickets can be purchased here.

The Full Monty has music and lyrics by David Yazbek with a book by Terrence McNally based on the film with script by Simon Beaufoy. It was first performed on Broadway in 2000

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.