If you have followed my reviews for any amount of time you know I have mixed opinions about the Disney Theatrical adaptations of their animated films. Some I love like Beauty and the Beast or The Lion King and others I could live without like Mary Poppins. You can see my ranking of the Disney theatricals here:

When it comes to the Broadway adaptation of Tarzan I had it grouped in the lower grouping but then I saw it this summer at Herriman Arts Council and was quite taken with it. This made me excited when I heard Empress Theatre was putting it on to give it another look and see what I thought of it. Now I’ve seen it and yeah it’s definitely a show I underestimated at first and I’ve moved it up a few slots in my Disney Theatricals ranking.

Anyway, that’s a long introduction to saying I enjoy Tarzan as a musical and I had a great time with it at The Empress Theatre in Magna (people get all concerned when they hear Magna but it’s honestly just a hop up from the airport. No big deal!) This is community theatre so it is not going to be perfect but it is spirited and any unpolished elements are all part of the charm of the experience.

This production is directed by Cheryl Cripps Richardson, and I admire the way she used the unusual Empress stage to its full advantages. If you’ve never been they have a half-way theater-in-the-round with a large platform above the stage they can act scenes out on. For Tarzan they used the platform as part of the jungle and then had 2 large ropes they could swing on to create a swinging through vines effect. They also bring in other visual effects in the story like using strobe lights to create the vintage film reel look in “Strangers Like Me.”

For community theatre a lot is asked of the actors with the swinging, dancing (Gweny Adams particularly impressed me with her interpretative dance approach to the Leopard in the early sequences. Choreographer Dylan Panter), singing, and of course acting. Ashley Bates leads the team in all aspects as Kala (Adult Tarzan isn’t actually introduced until “Son of Man” and Jane isn’t introduced until the end of Act 1). Bates is warm yet determined as Kala and has a beautiful alto voice for songs like “You’ll Be in My Heart” and “As Sure as the Sun turns to Moon.” All of the animal cast performed their roles with abandon, which made the experience very entertaining and sweet.

Tyler Rasmussen and Sophie Manzanares have lovely chemistry as Tarzan and Jane respectively and she is able to keep the British accent consistently throughout the show. Ian Bates also makes for a deliciously moustache twirling villain in his Clayton (if you haven’t caught on I prefer my villains to lean into the camp whenever possible in musical theatre.)

Obviously not everything was perfect the night we attended but the cast soldiered forward like any good night of community theater must do. Tarzan at The Empress Theatre would be a great choice for introducing young ones to musical theatre and is guaranteed to entertain the whole family (and maybe one they don’t see as frequently as other Disney shows like The Little Mermaid.) I definitely recommend it. It is playing through September 6th and tickets can be purchased here.

Tarzan features music and lyrics by Phil Collins with a book by David Henry Hwang based on the 1999 Disney film and Tarzan of the Apes by Edgar Rice Burroughs

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.

Before I start this review I’d just like to acknowledge this is my 201st post here on the site. Thanks to anyone who has read my reviews and allowed me to see their shows. It’s a privilege I don’t take lightly. Here’s to 200 more!

One of my favorite parts of reviewing the Utah theatre scene is following and encouraging new companies as they grow and add their unique voices to our community. One of the most promising additions this year is Sentinel Theatre Co out of American Fork/Pleasant Grove (Utah County oddly doesn’t have as much live theatre as other parts of Northern Utah. Sentinel began their journey with a bold introduction of Dogfight this year (which blew me away) and wisely went with a more crowd-pleasing choice for their second production- Bright Star. Y’all know how much I love Bright Star so I was thrilled when I heard this news and of course I had to see it twice (2 days in a row in fact) and while the production was simpler than Dogfight it’s still a must see of this season’s local theatre.

If you didn’t know Bright Star is a bluegrass musical set in 1923 Blue Ridge Mountains, North Carolina. It follows the love story between Alice Murphy and Jimmy Ray and how a town/family become changed by their love. While the story is admittedly on the basic side it’s the heart of its characters and beauty of the music that keeps me coming back to this show time and again.

At Sentinel the main cast features Kailey Simmons as Alice and Nathan Bowser as Jimmy Ray. The Saturday matinee has understudy Reagan Frederiksen as Alice, and I was able to see both women lead the show. They are both excellent and one can’t go wrong with either one of them as Alice. If I was going to differentiate I’d say Simmons has more of the folksinger feel where Frederiksen is more Broadway belt but they both work great for this material and have chemistry with Bowser. He is also excellent but what is so impressive about his performance is how he transitions believably from young to older Jimmy Ray before our very eyes. It’s not just his hair and makeup changing in these scenes but his cadence and manner of walking are noticeably different.

The production is directed by Andrew Jefferies and after the massive sets of Dogfight I was surprised how simple he and set designer Kristyan Williams kept things for Bright Star. The mountain backdrop is stunning but most of the rest of the sets consists of chairs, tables, podiums and platforms moved around for the various scenes. This simplicity felt intentional because it forced the audience to focus on the acting and dance choices going on. I don’t think of Bright Star as a dance-heavy show but they made some unique choices that made it stand out.

Choreographer Stephanie Cole used the ensemble to helped add a layer to the storytelling by having dancers emulate what is happening to the characters through their dance. In early scenes the dance is bubbly and light, other moments the women are pregnant or holding babies, and at the climatic train sequence they are stomping along with the music. This adds a layer that if you feel you’ve seen all Bright Star has to offer it may just surprise you.

The other big standout of the night is the 9 person orchestra that accompanies the production. Led by music and orchestra director Cheri Bennett this talented group plays the beautiful songs expertly and allows the actors freedom to explore their characters that a backtrack is never going to provide. Especially for a show like this which is supposed to be local and old-school it adds an authenticity that makes everything feel special and more memorable.

As far as any critiques I’d give I do wish they hadn’t had to move from the Valentine Theatre over to Liahona Preparatory. Liahona just tends to have more sound and other issues but not a big deal. Also there are a few times when perhaps they get a little too abstract for the material. Like they have the ensemble holding Billy’s sweater in “I Can’t Wait” which makes the huge reveal in Act 2 a little less meaningful. Also while I like the simplicity perhaps a little more could have been done to differentiate scenes like the Southern Journal office from the Shiny Penny club but that’s just me.

I know a lot of couples are looking for good theatre to see together and I can’t think of a better date night than going to see Bright Star at Sentinel. It gives 2 beautiful love stories in one and a story about hope that anyone can appreciate. If you think you’ve seen it all before they do enough to make this production stand out and unique. It is playing through September 6th and tickets can be purchased here.

Bright Star has music and lyrics by Steve Martin and Edie Brickell with lyrics by Brickell and book by Martin

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’ve said it many times in these reviews but some of the strongest theatre companies in Utah are the various arts councils and one of my personal favorites is Payson Community Theatre. They have consistently put out excellent shows and yet it still seems like they are under the radar and not praised as much as they should be. Their latest production of Newsies continues this strong tradition and is definitely worthy of your time.

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Of course, Newsies is based on the classic Disney film from 1992 about a group of newsboys who went on strike in 1899. The film was actually a big flop at the time of release and Roger Ebert put it on his worst of the year list saying that he hated the film. I, on the other hand, was at just the right age for it and loved it, so I was thrilled when the material got the attention it deserves with a bit Broadway musical.

The production at PCT boasts a massive cast with nearly 60 people all choreographed and involved in telling the story of the newsies strike. Director Jeremy Showgren seemingly has thought of everything with all of the elements working together quite seamlessly. The biggest standout is the choreography from Emma Black. It’s hard enough to get such a large ensemble coordinated together but the dance moves are surprising and creative. At one point “Seize the Day” all of the “boys” even did somersaults together! The use of the paper being ripped and tossed around the dancers is also very effective and eye catching in this number.

Other standouts in the show is the combination of a practical 2-story set that easily morphed from the Medda’s club to the refuge but the very effective use of projections even managing to get the typing on the screen coordinated with the stage when Katherine (Sheridan Hansen) is typing “Watch What Happens.”

I wasn’t surprised to learn the cast consists of a lot of families doing the show together. One can feel this chemistry and it makes even less polished performers endearing and enjoyable to watch. My favorites of the cast are Alexa Back as Race (get her a lead next time), Bennett Claybaugh as Les (so cute) and Trevor Brackney as a very moustache twirling version of Pulitzer (he did a lot with a relatively bland role.) I also think Hansen and Andrew Cook have great chemistry as Jack and Katherine and they make the somewhat lame song “Something to Believe in” memorable.

There are times when the backtrack and performers are not in perfect sync and a few other technical imperfections but nothing that stops everyone from having a great evening of community theater. Taking the entire family to see Newsies at PCT would be a wonderful experience. Plus it’d be a great chance to teach kids about labor and its role just in time for Labor Day! Newsies is playing through Sept 1st at Salem Hills High School (this is a much better venue than the old high school.) Tickets can be purchased here.

Newsies: The Musical features music by Alan Menken with lyrics by Jack Feldman and a book by Harvey Fierstein based on the 1992 film of the same name and a screenplay by Bob Tzudiker and Noni White.

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.

Believe it or not tonight I saw the musical Something Rotten for the 4th time this year. I’ve seen it 9 times since the pandemic so to say that it is popular in Utah would be an understatement. Usually with comedic shows the comedy starts to wear on me after a while, but fortunately that is not the case with Something Rotten. It made me laugh the first time I saw it and it still makes me laugh on the 9th time.

If you are unfamiliar with the story of Something Rotten it’s a farce written to poke fun at all things theatre in particular Shakespeare and musicals. The lead characters are Nick and Nigel Bottom and they are Renaissance playwrights who have to compete with the biggest bard of them all William Shakespeare. Through various contrivances they get a glimpse into the future and decide to start the modern musical in 1590 to revolutionize theater.

In all the Something Rotten I’ve seen there are varying degrees that the company choses to lean into the musical theatre scavenger hunt of it all. I’ve seen productions where every ensemble member in “A Musical” is dressed up in an iconic musical theater costume but then I’ve seen others where no special costumes are used and it is left only to the lyrics to do all the parody in the songs. Director David Morgan and his team at The Ruth have found a happy medium between these extremes. This is smart because it is enough to entertain the hardcore musical theatre fans without alienating newcomers who won’t get more obscure references (my Dad saw it with me at one of the more intense versions I’ve seen and he didn’t get most of the references and jokes. I think he’d like this one at The Ruth much better.)

The cast is all great here. Blake Barlow and Austin Dorman make believable brothers as Nick and Nigel respectively and Jordan Nicholes has the bravado to pull off rock star Shakespeare (one interesting aspect of Something Rotten is Shakespeare is the most memorable character but he’s actually not in that much. He barely appears in Act 1 until “Will Power” and then in Act 2 he only has one song “Hard to be the Bard.”) The Ruth stages those two songs like a concert complete with adoring fans shrieking and brightly colored lighting (Ryan Fallis.)

I was a little disappointed they didn’t do more with the set and other production elements for “We See the Light.” No stained glass or even church pews to set the scene. I know it is a dream sequence but it made the song feel a little forgettable when it is one of my favorites. I also wish the company had come out into the aisles like they did with their recent production of An American in Paris or Cinderella. It just could have been more immersive. My final point of critique is the sound mix was off some particularly for Shakespeare’s songs. It makes the singing feel less professional when they are having to yell above the music.

All that said the production does what it needs to do- it makes the audience laugh. I don’t know how one doesn’t laugh at ridiculous songs like “Make an Omelette” with eggs jumping around (costumes by Lexi Goldsberry.) But with all the laughs there is a sweet story of brotherly friendship, being true to oneself and finding love both new and in ones marriage partner. It makes for a very fun night of community theatre.

They tone down some of the more bawdy humor at The Ruth so Something Rotten is appropriate for the entire family. It is playing through October 4th and tickets can be purchased here.

Something Rotten features music and lyrics by Karey and Wayne Kirkpatrick and a book by Karey and John O’Farrell.

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.

Over the years I have become a bit of an expert on The Play that Goes Wrong. Pride and Prejudice and A Christmas Carol are the only straight plays I’ve seen more times than it since the pandemic and for the most part I always leave having had a good time. That said, the schtick is becoming wearing a bit thin. That is why I was nervous going into seeing it at Heritage Theatre and was so thrilled coming out of it having been so entertained. I didn’t know if such a small company could pull of this show and make it entertaining but in many ways they are tailor-made for it and all it has to offer. I really recommend seeing The Play that Goes Wrong at Heritage.

If you didn’t know The Play That Goes Wrong is a farce about a fictional theatre company, The Cornley Polytechnic Drama Society, and their disastrous staging of The Murder at Haversham Manor. During the mystery sets fall apart, actors are incapacitated (a few multiple times) and lighter fluid is ingested and spit-taked repeatedly. It’s absurd and can be very funny. What is most inspired about the production at Heritage is they use the smallness of their limitations to lean into the jokes even more than is on the page. So yes their second story platform is dinky and can’t pull off every gag but that in a way makes everything more funny. The play is after all is about a small company where everything goes wrong in their play. Heritage in its smallness can sell the jokes better than anywhere else I’ve seen!

Another factor where the smallness paid off in droves is being forced to have Trevor (Duncan Christensen), the sound technician on the stage with them instead of in the tech booth in the crowd. This adds to the technical and production based jokes. Director Jed Broberg and his set designer companion Dave Matthews seemingly have thought of everything to make the material work for the small space (where it didnt work very well at the theater-in-the-round space at West Valley this year.)

I have to hand it to the actors as well because they are fully committed to the comedy even being totally in on the physical demands of the gags. Ashley Dean Hansen as Sandra/Florence is particularly impressive as she is dragged through windows and plopped on to the floor multiple times. Chauntelle McAlhany is absolutely hilarious as Annie and her growing rivalry with Hansen is so much fun to watch. All the men are in top form including Alex Patterson as Dennis/Perkins. The scene where they keep recycling the same lines over again waiting for him to say the right ending line had me in stitches.

I am sure most of the people reading this review have seen this show before. It’s been done a lot but I’d encourage you to give Heritage’s version a shot. I truly found it quite illuminating and frankly one of the funniest shows I’ve seen in a long time. Tickets to Heritage are very affordable and it would be a good way to teach kids about comedy and have an enjoyable night out together. Also their Winston is adorable. You can’t go wrong with Heritage’s The Play that Goes Wrong! It is playing Sept 6th and tickets can be purchased here.

Also the audience was very responsive and interactive the night I attended. I wish every audience of theatre I sat with helped the performers as much as this one. It really adds to the experience!

The Play that Goes Wrong is written by Henry Lewis, Jonathan Sayer and Henry Shields of Mischief Theatre Company

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. I have a few recent shows to update you all on. For those new to my site for shows I attend as a patron I do brief logs letting you know what I think and for those I see as a critic I do a full detailed review. Make sure you are following me on instagram to get my out of theater reactions to everything I see both film and theatre. Lately I have been finding most companies want me to do full reviews which is a complete honor so down the road I may have to come up with a different system for logging these patron thoughts but for now it’s working well enough (I also have no deadline for the logged review which for a full comped review I try and get them out within 48 hours.)

So here goes a few things I’ve seen recently:

Macbeth- Parker Theatre, Salt Lake

It was very interesting to get to see Macbeth at Parker Theatre so soon after seeing it at the Utah Shakespeare Festival. I enjoyed both productions and would recommend them both for different reasons. They both tried different strategies to make Shakespeare more entertaining. With USF they portrayed Hecate, which is an element usually left out but it gave the production a rockstar appeal and was fresh and exciting. With Parker they focus on the soldier element and we even see some fight choreography (Spencer Hohl) between Macbeth, MacDuff, Malcom and others. Interestingly both start with a funeral and the Macbeth’s losing a child. This does a lot to ground the characters and with Parker a child actor appears as their Ghost Daughter (Eloise Hohl.) It is fascinating they only had one Macduff child an older daughter played by Emme Hatch.

As much as I enjoyed the rockstar element of Hecate at USF I feel I got to know the Macbeths a little better in the Parker production. They felt like a bit of an afterthought at USF. I also think Lucas Charon is perfectly cast in the lead role. Everything about his appearance, energy and performance is just what I envision for the character of Macbeth. We also get the sense of grieving and loss from McKenna Walwyn’s performance as Lady Macbeth. The sound (Spencer Hohl), lighting (James B Parker) and other elements are always a standout at Parker and this is no exception. Others have written more about the adaptation and it not being to their liking. I saw no major problems with the script. The production is directed by Brinton Wilkins and it plays through August 30th. Tickets can be purchased here. (Also I’ll be sad to have no Shakespeare next year at Parker 😦

Daddy Long Legs- Centerpoint Legacy Theatre, Centerville

I’ve already given my thoughts about this production of Daddy Long Legs at Centerpoint but I did get to see the TThS cast and I adored it just as much as the MWF cast, perhaps even more! This cast has Mackenzie Turner as Jerusha and Jacob Coates as Jervis. They both feel like teenagers (don’t know how old they are but just how they felt on stage) which is a fun choice for these characters who are supposed to be college-aged. I also really liked both of their nerdy energy they bring to the roles. It feels obvious from the first letters that they belong together just by their expressions and excitement for life.

All of the strengths of the MWF cast are still here. I love how director Liz Christensen starts with Jervis back facing us and then in the second act she changes so the chair is facing towards us. It’s symbolic of his growth as a character but also his relationship with Jerusha changing from a man in the shadows. I appreciate the decision to not have him pin up the letters. It helps him seem more grounded and likable as a character. The only thing I think is weird is the decision to have oil painting projections in the background. Nobody in the play is a painter and art or paintings are never talked about. I think a projection of letters and writing would make more sense.

But I adore this musical and this is a wonderful production. I wish I had time to see it again. If you can get out to Centerpoint it’s well worth your time. Daddy Long Legs is playing until Sept 2nd but only a few tickets are left and can be purchased here.

Frozen: The Hit Broadway Musical- Disney Plus

Lastly a few quick thoughts about the proshot for Frozen that has recently appeared on Disney Plus. While the title ‘hit Broadway’ isn’t very accurate as this is filmed in London West End, it’s still an excellent recording of this show based on the beloved animated film. The cast is wonderful led by Samantha Barks as Elsa and Laura Dawkes as Anna.

Next to The Lion King, Frozen is probably the most visually impressive of the Disney Theatricals. The quick dress changes and the timing of the lighting effects are very impressive and fun to watch. Plus, watching them on the proshot one gets to get up close and personal with what is happening (the first time I saw Frozen my view was obfuscated which was a bummer. In some ways a proshot can be an improvement!)

Frozen does drag at times but that’s another benefit of watching from home. You can enjoy as much or as little of it as you want while folding laundry or doing any other thing. This musical is perfect for that kind of watch. If you want to see my ranking of all the Disney theatricals click here. Definitely give this Frozen a shot!

So there you have it! My latest update. What have you been watching? Let me know in the comments!

Macbeth is written by William Shakespeare. Daddy Long Legs has music and lyrics by Paul Gordon and a book by John Caird based on the novel by Jean Webster. Frozen: the Musical has music and lyrics by Kristen Anderson-Lopez and Robert Lopez with a book by Jennifer Lee

These logged shows I pay for out of pocket, and I’d love to do that as much as possible. If you have a show you’d like me to take a look at and write a full review let me know. I also have my patreon which is a great way to support what I do and get some really fun perks. Find out more here.

Earlier this year I did a ranking of Utah theaters and Hopebox Theatre in Kaysville was 2nd place in my ranking. Not only do I love their mission and find what they are doing to help cancer patients incredibly moving but their productions have been some of the most inventive and immersive I’ve seen each year. Whether it’s Oliver or Fiddler on the Roof the attention to detail in all aspects is outstanding. So when I say their current production of Shrek is a little underwhelming it’s only because I hold them up to such a high standard. It has many positives and is a fine night of community theatre but it doesn’t have the polish I usually see from Hopebox.

Let’s talk about the positives. First I found all 3 leads to be excellent and to have a nice chemistry together. Gregory Harrison has a sweet vulnerability as Shrek, Dusti Mulder is sassy with a beautiful voice as Fiona and Lance McDaniel gives his own fresh take on the character of Donkey (sometimes it can feel a little weird when a white actor is mimicking Eddie Murphy too much so I appreciate McDaniel didn’t do that.) I also liked the ensemble work particularly the tap dancing mice in “Make a Move.” It’s always amazing how they are able to pack in so many performers into the small stage at Hopebox and director Sadie Day has worked with choreographer Kayley Turner to get the most out of the large ensemble. The Duloc scenes and fairytale creatures are the especially big and energetic sections. Of course, it’s most important in community theatre that everyone seems to be having a positive experience together and that is always present in spades at Hopebox.

I’m afraid most of my negatives will come across as very nitpicky but again it’s only because I’ve come to expect such a high standard from this incredible organization. There are just little things they could work on. For example, the makeup could be more consistent. Even on Shrek most of the night the green didn’t go to the top of his head and there is a large streak in between the makeup and his cap. Fiona’s ogre makeup is practically non-existent and Shrek’s mother at the beginning has very little if anything on. The costumes are surprisingly minimalist for this company. Donkey, for instance, only has a normal suit with fur on hands and feet and ears. The Dragon has almost nothing to signify she’s a dragon. The sets are also pretty sparse with one castle set doing most of the heavy lifting and even then the stairs didn’t clamp down like they should so they were giving the actors a lot of grief moving around throughout the night. They could make the settings more unique by little things like having fabric lava at Fiona’s castle or more signs to distinguish Duloc.

Anyway, now that I feel like a big meanie that’s going to join Lord Farquaad in his villainy I’d still say Hopebox is worth supporting and that Shrek is a fun night of community theatre. Tickets are $16-21 and can be purchased here. It runs through Sept 6th.

Shrek: The Musical has music by Jeanine Tesori, lyrics and book by David Lindsay-Abaire and is based on the animated film and book by William Steig.

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.

If you have followed my content for a long time you know I have a mixed experience with Disney’s animated classic The Hunchback of Notre Dame. My first exposure to it was when I was babysitting the nephews of my friend and put it on and was shocked at what I saw. However, as an adult I have come to appreciate it more for the bold swing it was especially for a company like Disney and for the adult storytelling it attempts to tell. Now with the musical adaptation of the animated film Disney theatricals has refined the film and actually made an improved version of the story. It’s subtler, abandons most of the off-putting comic relief, and provides more character motivations particularly for the villain Frollo than the animated film. I have seen the musical many times but I don’t know that I’ve ever seen it better than at West Valley Arts Center this week. It is truly an astonishing production and something all involved should be very proud of.

I was especially thrilled to see such a great show at WVA because their last few shows haven’t been my favorite. I was particularly happy to see director Kate Rufener use the theater-in-the-round space to its full advantage, really immersing us in the world of the story. The sets by Adam Flitton are astonishing with some of the most impressive bells and stained glass I’ve ever seen. There’s also an incredible attention to detail with the costumes by Alicia Kondrick even getting side characters like Snt Aphrodisius with the correct robes and head coverings. I was amazed how many ensemble members they fit on the stage all executing the dancing choreographed by Marilyn Montgomery. One would have to work to not be drawn in by the world created around them.

They also make the very interesting choice of having the virgin Mary (Sophia Morrill Mancilla) as an actor holding a baby that all the actors especially Frollo confront and interact with. I have never seen that approach taken and it is very compelling and adds to the immersion.

The cast is across the board as good as anything I’ve seen at any professional theater in Utah or abroad. It almost seems immoral such incredible performances aren’t being rewarded with professional contracts and salaries. They are all that good. Chase Petersen as Claude Frollo is the standout. His deep baritone voice and commanding presence is perfect for the role. His Frollo is unyieldingly selfish but has just enough humanity set up at the outset with his relationship with his brother to be extra realistic and terrifying. His “Hellfire” is an unforgettable villain moment.

Taylor J. Smith manages to avoid any sense of disability tokenism that might be present in his Quasimodo, and I was on the journey with his character. Him singing “Out There” is one of the highlights of the night. Beatriz Melo has a beautiful voice as Esmeralda and her character is the emotional glue that holds the ensemble and cast together. It’s just a remarkable cast i would put it up against any Hunchback cast ever assembled. Period end of story.

With Hunchback originating from a novel in 1831 there are some outdated language particularly when it comes to the Romani people depicted. Also the ending and some other elements from the animated film are changed (mostly for the better but it is not the most kid-friendly offering the Disney association might imply.) I saw plays with deep themes when I was a child. Parents just need to be aware and help their kids process a show like Huncback.

No matter the age, child or adult, I can’t recommend West Valley Art’s The Hunchback of Notre Dame more heartily. It is a wonderful, moving, human experience with beautiful songs, dance, and performances. I was thrilled to see my night mostly sold out (which doesn’t often happen at WVA) so get your tickets now. It is playing through August 30th and tickets can be purchased here.

The Hunchback of Notre Dame has music by Alan Menken and Lyrics by Stephen Schwartz with a book by James Lapin and Peter Parnell based on the 1996 animated film and the novel of the same name by Victor Hugo.

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.

As a local theatre critic every so often I get presented with the question ‘is it fair to critique community theatre?’ The question is a fair one and something I’ve grappled with myself. I like to look at myself as celebrating community theatre but also providing some useful feedback that will help companies improve. It’s particularly tough on nights like I had this Monday watching a local production of Annie. Objectively speaking little seemed to go the company’s way and yet their persistence and the optimism of the piece left me with a big smile on my face (as Annie should do!) and I’d still recommend seeing it flaws and all.

This production of Annie is a combined project by Sandbox Theatre Company and Wasatch Theatre Company and was put on at the Regent’s Black Box at Eccles in Salt Lake. Being in a black box this is a much more scaled down version of Annie than I just saw in Ogden but both versions have their charm. This has a huge cast with 18 orphans who are all very cute with some of them showing off their acrobatic skills in the numbers.

Bentley Nuila plays Annie and she is terrific in the role, very expressive and animated. They do go with the subtle red hair route but it’s cute, and she has excellent chemistry with Jake Hendriksen who is a warm and endearing Daddy Warbucks. Bren Tew is lovely as Grace Ferrell and Wendy Richhart makes for a very boozy Miss Hannigan (she had to improv for several minutes with the girls when another adult was late on stage and it was a hoot to watch.)

It’s just a shame that there were so many technical hiccups. The microphones were a total mess. In fact, when they would stop working I wondered if it would be better just to have the actors shout their lines given it is a small black box? There were also problems with lighting and the transitions took a long time (we were there almost 3 hours which is a lot for Annie.) They also had sets fall apart and people missing their cues. It was just one of those nights!

Still, they kept plugging away and concluded by inviting us as audience members to sing ‘Tomorrow’ with them, and I was quite moved by the experience. At the end of the day, they had all done their best and isn’t that what community theatre is all about? This Annie is directed by Karyn Tucker and is playing through August 16th. One can purchase tickets here.

Annie has music by Charles Strouse and lyrics by Martin Chamin and a book by Thomas Meehan based on the comic and radio program by Harold Gray.

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.