When I went to review A Christmas Carol at The Ruth it was actually my 4th viewing of the story this season and my 3rd full review (look here and here). While it can be a challenge to find new ways to write engagingly about the same story it is always surprising how I can also find new insight with each production. This staging at The Ruth is the most traditional of the 4 but that has its own value and cultural relevance to ponder. They tried a couple of times to shake things up (see here) but this version adapted by Cody Hale is an important part of many audience-members celebration of Christmas and that has value. It’s also the version I have seen the most being a long time season ticket holder to HCTO (now The Ruth) since my college days. It’s comforting and very nostalgic.

Daniel Hess was my Scrooge, and he does the more sarcastic take on the character (think the Alastair Sim film version.) While this is not accurate to the book, it’s a perfectly valid interpretation. He shines most towards the end of the story in what I call ‘Crazy Scrooge’ where he buys the turkey for Bob Cratchit (BJ Oldroyd) and prances around London in his pajamas.

At The Ruth the production is directed by David Morgan and the most effective directing choices were made with all 4 ghosts entrances into the story. I particularly enjoyed the near jump-scare they gave to Jacob Marley (Andrew Maddocks) for his introduction after Scrooge see’s him projected onto the door. I also really liked how Past (Channing Heiner) and Present (Jacob Baird) are brought in through the aisles making the experience feel as immersive as possible.

I must admit as fond as I am of this traditional adaptation I don’t really think the few songs are special or needed and would prefer they just stuck with the traditional carols throughout the piece. I particularly like a scene when the grieving Bob and family sing ‘What Child is This?’ at Tim’s grave. This is much better, for instance, than the weird song randomly given to Old Joe and the vagrants at the pawn shop.

As is always the case, the ensemble cast at The Ruth‘s A Christmas Carol is outstanding and the costumes by Lauri Baird are first rate. I did find the set design by Carter Thompson to be a little odd. Scrooge’s house is off-kelter with a triangle bookshelf and paintings hung askew. This gave the impression one might expect an edgy version of this story but it really is quite traditional and true to Dicken’s original intent.

Still, if you are looking for a way to celebration the holidays as a family one can’t go wrong with A Christmas Carol at The Ruth. This show is a beloved Utah County tradition for a reason and certainly worthy of your time and patronage. It is playing through December 27th and tickets can be purchased here.

This version of A Christmas Carol is of course based on the Charles Dickens novella and features music and lyrics by Cody Hale. It has been performed at The Ruth and at Hale Center Theatre Orem for many years.

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 fun things about reviewing theatre during the holidays is getting to see various productions of the same shows. I love comparing the approaches of different theatre companies and analyzing what they each do to standout. Recently I reviewed White Christmas: The Musical at Heritage Theater (that I loved) and today I’m going to talk about the production at Hopebox, which is also wonderful.

It’s honestly hard for a show at Hopebox to not standout and make an impression. They are an incredible organization that not only have a wonderful mission of supporting families battling cancer but they put on great shows while they are at it! I admire that they nearly always use their mission as a catalyst for greater shows not as an excuse for mediocrity.

The production of White Christmas is mostly a showcase for bright bubbly dance routines. They have a small space but choreographer Canada Johanson packs in as much ballroom and tapdance into the space as possible. The Irving Berlin songs we all love from the movie are catchy and fun with such classics as “The Best Things Happen While You’re Dancing,” “Snow,” and “Blue Skies.”

I saw the Teal cast at Hopebox and it’s super fun they have married in real life couple Dugan and Jessica Brunker playing Bob Wallace and Betty Haynes respectively. This obviously helps with the chemistry but I also enjoyed Bradley Barker as Phil Davis (such smart casting. He has natural Danny Kaye energy) and Elizabeth Fitzgerald as Judy Haynes. When both the women and then the men sing “Sisters” it’s a highlight of the night.

One aspect of White Christmas that makes it great for community theatre is it is a show that uses its ensemble well. Director Karllen Johnson has gotten the most out of her cast and I really enjoyed supporting performances from Drew Saddler playing stressed out manager Mike and Sydney Shaffer and Jennica Johnson as the ditzy Rita and Rhoda respectively.

It is true that the show is a little overlong and particularly the first half drags a bit but that is honestly true for the movie as well (at least they cut out the “Minstrel” number in the movie!) There are also times when the music overwhelms the singers and the sound mix could be better controlled. Hopebox has a section with a pole obstructing views (which we weren’t in) but I was surprised they put a wreath on that pole at one point; thereby, obstructing those patron’s view even more.

All that said, I really enjoyed White Christmas at Hopebox. If you like classic musicals with great dancing, music and romance you can’t go wrong with this show. My friend Emily and I loved it. It is everything you could want in a holiday show and is playing through December 27th. Tickets can be purchased here.

White Christmas has music and lyrics by Irving Berlin with a book by David Ives and Paul Blake based on the classic film from 1954. It first premiered on Broadway in 2008 and then again in 2009.

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 love when theatres take time to make high quality productions for children, and I love even more when these shows are original material instead of the franchise material we so often see. Such is the opportunity happening right now at Salt Lake Acting Company with their new one act musical Naked Mole Rat Gets Dressed: The Rock Experience. The ungainly title is evidently based on a book by Mo Willems who pens the script and lyrics and it ends up being a lot of fun.

The story follows mole rat Wilbur who is bucking convention by wearing clothes (clothes that have fallen from the sky.) He then sets up shop and sells the clothes trying to influence his fellow mole rats to dress smashingly. Since this is for kids the messaging is kept very simple with Wilbur having the bravery to be different and the other mole rats learning to accept him and try wearing clothes themselves.

If it was for adults they could dive into the introduction of commerce, wealth and identity through clothes but probably best to keep things basic in a 50 minute play for kids. Joseph Paul Branca plays Wilbur and he is very sweet with the rest of the cast energetically supporting his performance. The show is directed by Penelope Caywood and she manages to keep the energy high and the cuteness ever-present. The big standout production-wise is the costumes by Dennis Hassan, especially the pink, black and white outfits Wilbur is selling.

I do wish they would make the show much more interactive. There are a lot of moments where they could have involved the audience more. For example, they could give the kids a chance to yell out in support of Wilbur or clap along with the music. The only real audience interaction is at the end with the fashion show. Kids love an interactive experience so the more of that they can add the better.

Still, Naked Mole Rat at SLAC is sweet and worthy of your time. It is playing through December 30th and tickets can be purchased here.

Naked Mole Rat Gets Dressed: The Rock Experience has script and lyrics by Mo Willems with music by Deborah Wicks LaPuma. It is bsed on the children’s book

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 love the play Noises Off. In fact, I’ve now seen it 3 times this year, but I haven’t had a chance to do a longform review of it on the site because the other 2 times were my shorter logs here and here. Then again I often find it difficult to write about comedies, both theatrical and film, because at the end of the day it comes down to the jokes and if they make me laugh or not. It’s hard to find much nuance to wax poetic about in the genre, but I will do my best. Pioneer Theatre Company has a new production of Noises Off and it’s absolutely hilarious and should not be missed.

Part of what makes Noises Off work so well is how it embraces the chaos of a good farce. In many ways it could be seen as a predecessor to the more recent The Play that Goes Wrong. In both, a theatre company is putting on a production where everything is a mess although Noises Off gets more into the relationships of the actors and crew than Wrong does. What I find most impressive at PTC is the way director Shelley Butler is able to keep all the moving pieces working together seamlessly even when everything gets very madcap.

It’s a play split into 3 acts and the amazing two-story set by scenic designer Paige Hathaway is flipped around in between acts so we are sometimes from the perspective of the audience watching the play (called Nothing On) and others from behind the set with the cast and crew. This is especially effective when we see the actors performing or the noise of the crew depending on what side it is on. It’s also very funny how they use the PA announcements to the audience in repeated gags.

The other technical elements to Noises Off at PTC are great but at the end of the day this play comes down to the actors being able to sell the broad comedy and they do here. I love them all but Rhett Guter is an especial favorite as Garry. Whether he’s exasperated at a tangled phone line or literally falling down the staircase he commits 100% to the gags and I was in stitches every time. I also really enjoyed Olivia Kaufmann as the ditzy Brooke. This character barely seems to realize she is in a play or portraying a role which makes her genuine responses so funny. Finally Terence Archie is a riot as the high-minded Frederick who is constantly trying to find deeper meaning to each part of Nothing On despite the exasperation of the director and rest of the cast.

Naturally there is a lot of holiday entertainment at theaters right now but I would encourage readers to make time for Noises Off at PTC this December. We all could use a good laugh and this wonderful play will have you cracking up. It just feels great to be in an audience of fellow Utahns all laughing together. Don’t miss it! It is playing through December 20th and tickets can be purchased here.

Noises Off is a play by Michael Frayn and it originally premiered in 1982 in London opening on Broadway in 1983. It has been revived and rewritten by Frayn many times over the years most recently in 2015

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 much as I love seeing countless productions of holiday shows like A Christmas Carol itis nice when something different is offered, and this is exactly what you get with Cirque du Soleil’s new offering at Eccles entitled Twas the Night Before Christmas.

I am not a dance critic or knowledgeable to give any kind of critique on the various performers of the night. The aerialists, acrobats, and jugglers make it all look easy, which of course it is not, but that’s how one knows they are doing a great job. I’m sure someone more familiar with these type of performance acts would be able to give a more nuanced critique but that’s not me.

The setup for the show is a little girl is listening to hip-hop Christmas music when she is taken to a winter wonderland after reading Twas the Night Before Christmas. We then get various ‘acts’ as they are referred to in the playbill including aerialists on various apparatus, roller skaters, acrobats, jugglers and dancers. The artistic director is Melissa Colella and she lets the performers shine and do what they do best. The sparkly decor that surrounds them along with lighting by Greg Groeszinger make the experience more memorable but at the end of the day it’s the quality of the athletes on display which are first rate talents.

My only complaint would be that the production feels a little small for what it’s trying to do. Most of the time there are only one or two performers for every act. I haven’t been to any other Cirque du Soleil shows, but I feel like usually it is bigger with more performers. The few times they made any mistakes (like a juggling pin being dropped or hoops falling over) it stands out because there are so few doing the acts on stage, which is a bit of a shame.

Still, if you are looking to do something different this holiday season I recommend Twas the Night Before by Cirque du Soleil. It is playing through December 14th and is something one could take the whole family to enjoy. 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 like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Perhaps because they are performed annually I find some of the holiday musicals to be quite underrated amongst theatre fans and critics (I also am a huge Christmas person so that could be part of it.) One of the most underrated is the adaptation of White Christmas that I love and there’s a new wonderful production of it at Heritage Theatre. It will definitely be a great way to dance your way into this holiday season.

Most of us know the plot of White Christmas from the classic 1954 film with Bing Crosby and Danny Kaye, and this adaptation does a terrific job of taking out what doesn’t work (like the “Minstrel” number) and adding new songs that are still from Irving Berlin so they feel right at home with the rest of the music. I guess the show got bad reviews when it premiered on Broadway in 2008 but I don’t understand why. It does everything I want an screen to stage show to do but that’s just me.

One of the difficulties Heritage faces when doing this type of musical is how small their stage is but director Leslie Richards is up for the challenge. The choreography by Charli Adams often goes out into the audience which helps make it a more immersive experience. Throughout the course of the night we are treated to tap, ballroom and Broadway dance routines and they are well done with a lot of old-school personality. The dancing highlight is probably “The Best Things Happen While You’re Dancing” where it’s hard to not get swept away in the old-school quality of the routine.

The night I attended Bob Wallace was played by David Sensenbaugh with Andrew Crumpley as Phil Davis. They have a nice chemistry together as friends and work well with their leading ladies Karlie Clark and Ginny Waldron playing Betty and Judy Haynes respectively. This isn’t professional quality singing but it’s pleasant and fits the homespun quality of the musical. I also appreciate how well the ensemble is used. This is a great show for community theatre because the book gives so much for the ensemble to do not just in terms of dancing sequences but a lot of characters have lines and are involved in the story (as opposed to something like Into the Woods or Little Shop which have almost no ensemble work.) I particularly enjoyed numbers like “Happy Holiday/ Let Yourself Go” that are full of energetic tap dancing for the whole cast.

Driving up to Heritage Theatre in Perry takes me almost an hour but it is a must visit whenever they have a new show. I just love the mixture of heart, ambition and entertainment they provide. White Christmas is no exception and definitely worthy of your time. It is playing through December 20th and tickets can be purchased here.

White Christmas has music and lyrics by Irving Berlin with a book by David Ives and Paul Blake based on the classic film from 1954. It first premiered on Broadway in 2008 and then again in 2009.

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.

There is not much that can bring in the Christmas spirit better than seeing A Christmas Carol on the stage. Luckily here in Utah there are ample opportunities for being a part of this classic story each holiday season. In fact, I saw 3 different versions during just this weekend alone. I enjoyed all 3 but must admit the musical adaptation isn’t my favorite. I would definitely recommend the straight play versions at PCT and Parker over this but it is a very well done production and if you like the musical you will love it.

My main problem with this musical is it feels like composer Alan Menken took Beauty and the Beast and put A Christmas Carol skin over it. It opens with a song about Scrooge walking through the town and feeling different, it has a song about home and another bizarre number called “Abundance and Charity” that has definite “Be Our Guest” vibes where some how they work in a kickline into Victorian England. The score even sounds nearly identical to Beauty and the Beast It just leaves me feeling uninspired when it comes to the music.

All that said, the core story is still good and everything that OMT did to elevate the material totally works. In the end, a company can only work with what they’ve got and they do a great job with this musical. It is directed by Todd Wente and just visually it is extremely impressive. The massive 2-story sets by Josh Roberts light up like actual houses and are interactive for the cast to open and walk on creating a lived in feel to what is happening. The choreography is also very strong by Michael Hernandez. I particularly enjoyed “Dancing on Your Grave” where the dancers feel like the ancestors in Addams Family, which is a lot of fun.

The cast is also strong with Chuck Gillmore leading everything as Scrooge. I especially enjoyed his transformation Scrooge. He really sold the mania and heart of those scenes. Maddie Cruz Curletto is also very good as Ghost of Christmas Past with one of the best singing voices and stage presences of the night.

The best song of the evening is probably “God Bless Us Everyone” and Theodore Kenneth Burton is very cute as Tiny Tim. Peter K. Weiner is also a warm and empathetic presence on stage as Bob Cratchit.

Unfortunately tonight is the last night of A Christmas Carol at OMT but if you want to see a musical version of this story it’s worthy of your time. They do everything they can to elevate this material and I do think OMT is one of the most underrated theatre companies in Northern Utah. If February they have The Scarlet Pimpernel coming up and that is worthy of your time.

A Christmas Carol has music by Alan Menken with lyrics by Lynn Ahrens and a book by Mike Ockrent and Lynn Ahrens. It is based on the classic novel by Charles Dickens and was performed at Madison Square Garden from 1994 to 2003.

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 unique aspects of being a regional theatre critic is I end up seeing the same shows repeatedly. This might annoy some people, but I really enjoy seeing the different takes productions have on the same material. My most commonly seen story is Charles Dickens’ A Christmas Carol, and my first version of the season came from Payson Community Theatre. It is a new adaptation done in house by Paul Cave and focuses on the religious themes of the novel and story.

It’s fascinating because I also saw A Christmas Carol at Parker Theatre and that version barely mentions the religious elements and magnifies the social themes and horror sequences. This PTC version is the reverse. High on religion, low on horror. Scrooge here seems barely scared by Jacob and the scene at the door with Jacob is zoomed over (where at Parker they extend it into multiple scenes.) I don’t know about you but I find these unique looks at the same story to be fascinating.

I do appreciate if they are going to emphasize the religious themes they are consistent throughout. When the benefactors are introduced Scrooge criticizes them as performing “Christian thievery.” We also have a theme of light throughout with Jacob saying he dimmed the light of those around him, Past warning Scrooge “it is one thing to dim the light on yourself. Another to dim it on others.” Fezziwig and Belle are characters of faith and sister Fran’s favorite hymn is “I Heard the Bells on Christmas Day” which is a carol referred to multiple times (it actually wasn’t written until 1863, 20 years after A Christmas Carol but that’s fine.) The characters in Present even refer to Dickens as “Reverend Dickens” and in present Tim sings “God Rest Ye Merry Gentleman” which adds to his normal “God Bless us Everyone” mantra.

Fortunately the production doesn’t forget to have lighter moments to break up the solemnity. I particularly liked the device of Scrooge being annoyed by Christmas carolers. He literally refers to them as “the enemy” and has a sign saying ‘no carolers’ in his office. That’s a funny touch that made me laugh out loud. I also enjoyed the 2 gravediggers that begin and close out the story and the boisterous Present played by Calvin Kitchen.

The stage at Payson Jr High School is small but they stretch it out as far as they can having the graveyard jutting out on the left side. They also make the space work with doors and windows that are moved around and set-pieces that easily create different spaces like the office or Fezziwigs. I also enjoyed how Cave gave more of dynamic arcs for both Fran and Mrs Cratchit. There’s a lovely scene where Scrooge asks Mrs Cratchit (Melissa Hudson) if she can forgive him, which given the religious theme of the production is a nice element. Fran it turns out is the one who sends the ghosts because of her love for Scrooge, which while I love the idea that Jacob does it in the novel, it’s a sweet take on the sibling dynamic of the story. I also love that Scrooge’s normal pleading at the grave is at Tim’s tombstone not his own. What a clever take for A Christmas Carol.

I know I’ve talked the most about this adaptation and less about the production (which I usually don’t do) but there are tons of A Christmas Carols in Northern Utah this season and the adaptation is what makes PCT’s production most unique. If you are hoping for a show that focuses on the religious aspects of the story and holiday than you absolutely must see this.

The proceedings are directed by Perry Ewell and he has gotten the best possible performances out of his cast in the challenging space. Scrooge is played by BJ Harrison and he gets to some vulnerable moments- particularly, like I said, at the ending when he is pleading for forgiveness. Ace Ortiz is very cute as Tiny Tim and Simon Kirschman is an endearing Bob Cratchit. The only aspect that didn’t work for me is the classical music Cave chose for the production. It just felt out of place to have Mozart and other classical music pieces and not Christmas music. I also always forget to bring a seat cushion to PCT and those office chairs can be brutal after a couple of hours.

Other than that PCT’s Ebenezer: A Christmas Carol is a wonderful adaptation that anyone looking for a spiritual boost this holiday season will enjoy. It is playing through Dec 8th and tickets can be purchased here.

Ebenezer: A Christmas Carol is adapted from A Christmas Carol by Charles Dickens by Paul Cave. This production at PCT is its premiere staging.

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.