Author: Rachel's Reviews

TEENS SHINE IN AMERICAN HERITAGE’S AMBITIOUS ‘PRIDE AND PREJUDICE’ (REVIEW)

| Rachel's Reviews

Everyone who knows me knows how much I love the works of Jane Austen including most of the stage adaptations (not the biggest fan of the musicals but I’m a sucker for most everything else.) I particularly love the two Jane Austen adaptations for stage by playwright Melissa Leialani Larson and will see whomever is putting it on. It is for these reasons I jumped at the chance to see teens at the American Heritage School: Salt Lake Campus take on her adaptation of Pride and Prejudice. This is an extremely ambitious production for a high school to take on and they did a fantastic job executing it.

There are a lot of very impressive aspects of what American Heritage is doing with this play. First of all it is long and full of old-English language that might be challenging for teens. Most of the time teens do shorten versions of musicals and plays like Hadestown and Harry Potter and the Cursed Child both with teen editions. With this version of Pride and Prejudice, however, the teens do the full story which is no easy a task.

The stage that director Micole Mayfield is working with is small but set designers Kami and Justin Burnett have made the space work with platforms with frames for the actors to perform monologues behind or comment on the action that is happening. The transitions between scenes could be a little smoother but that’s all part of the learning experience for the teens.

As I said it is very impressive how confident the teens are with the large amounts of dialogue they had to learn. I enjoyed the entire cast but the standouts are probably Rylee Rubschlager as Mrs Bennet and Cannon Rockwood as William Collins. They are both very funny in their roles. This version of Pride and Prejudice has Darcy as more awkward than outright rude and Will Smith captures that energy well with Mary Anderson complimenting him nicely as Elizabeth (Lizzy) Bennet.

Here is an interview with playwright Melissa Leilani Larson

If they are looking for an area to improve I would say the costumes are a little all over the place. Some feel regency like with Mrs Bennet’s dress, then others seem almost Puritan with Lady Catherine’s dress, and finally others like Lizzy’s dress seem like prom dresses. I do appreciate they worked to make the hair accurate with long curls and up-dos but with such simple sets the costumes are pretty essential to setting the time and place, so that could be better. I also worry about picking a show without ensemble scenes. I know this is a smaller school but hopefully everyone who wanted to participate got the chance (I believe in no cuts high school theatre wherever possible.)

That said this production of Pride and Prejudice is free and would make for a great family activity. You not only would be supporting these wonderful teens but introducing the family to theatre and Jane Austen for no cost! It is definitely worthy of your time but act quickly as the last show is March 22nd. Tickets can reserved here.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

GO OVER THE RAINBOW WITH HEART AND CHARM AT HERITAGE’S ‘THE WIZARD OF OZ’ (REVIEW)

| Rachel's Reviews

It’s always a shame when I don’t get to see a show until the end of its run. Sometimes I wish there were more of me spread around to see even more than I can by myself (if anyone wants to help me cover more shows just let me know!) It’s especially a bummer when it turns out to be a show I really love and then don’t get the opportunity to spread the word the way I’d like. Well, such is the case with The Wizard of Oz at Heritage Theatre in Perry. I love this little theater and this production may be the best thing I’ve ever seen from them.

Heritage Theatre is a favorite of mine because it really embodies everything that’s great in true community theater. It’s a chance for people to learn and grow and bond as a cast- to contribute something special to their community without expecting career advancement or large proceeds. I also appreciate they keep challenging themselves with more ambitious staging, costumes and other production elements. It’s community theatre that may be amateur but never fails to be entertaining.

This production of The Wizard of Oz is pretty closely based on the classic film with story by L. Frank Baum and music and lyrics by Harold Arlen and EY Harburg. It is directed by Beth Bruner and she recently directed My Fair Lady at Heritage which was outstanding so she knows how to get the best out of a community theatre cast and production. I particularly loved how she interwove so many different elements including 3 different versions of Toto, projections, traditional backgrounds, wonderful lighting by David Bruner, and an animatronic Oz Head puppet made out of crates that was so much fun (Oz Head made and operated by Celeste Reese and David Bruner). You definitely don’t expect that kind of creativity from a little place like Heritage!

The cast of The Wizard of Oz is also outstanding. I was amazed to see this is Caitlin Storm’s first lead playing Dorothy. She has a mature old-school sound to her voice that would have felt right at home with Judy Garland and the 30s. I also loved her chemistry with her trio of friends Scarecrow (Michael Storm), Tinman (Lauralye Anderson), Lion (Sterling Nelson). Hayley Bell is having the time of her life playing the Wicked Witch and I loved the scene when she broke character because she just be mad at a cute little doggy. That’s why I love community theater for moments like that.

Everyone who is involved with the costumes deserves huge credit. I especially loved the green looks for the Emerald City dancers. The makeup team also does incredible work getting elaborate looks on and off very quickly. I also really enjoyed the way the tornado was portrayed using dancers and fabric and the poppies/snow dancers. “The Jitterbug” choreography (Janelle Wiser) using black light and fleurescent/white costumes was also a ton of fun to watch. So much clever and thought went into every aspect.

Of course, not everything was perfect at The Wizard of Oz at Heritage. There were small microphone pings and singing that wasn’t the best but such foibles only enhance the heart and soul of such a piece of community theater. The Wizard of Oz is playing through March 22nd tickets can be purchased here.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

UTAH THEATRE LOG 2/21-3/7 (PERSUASION, JC SUPERSTAR, GUYS AND DOLLS) (RACHEL’S THEATRE LOG 110)

| Rachel's Reviews

Hi theatre friends! I am about to set off to Austin Texas this week for SXSW film festival but before I do so I want to give my quick thoughts on 3 live productions I was able to see as a patron. Please let me know what you have been watching:

PERSUASION- PARKER THEATRE, SALT LAKE CITY

I feel very fortunate to be able to enjoy The Parker Theatre and their special brand of period-themed productions they offer my community. I have enjoyed almost everything they have put on including their annual Jane Austen entry (they’ve done Emma, Pride and Prejudice and now Persuasion.) This Persuasion is probably my least favorite of their Austen adaptations but I still enjoyed it.

What impressed me the most about this adaptation by Kaitlyn & Jennifer Hohl (Jennifer is the director) is how much humor they were able to get out of this story. Aside from Mary, it’s not an Austen novel I associate with a lot of humor but I think that was entertaining and kept enough in the spirit of the novel to not be a problem (I know other audience members that found it more jarring which I can understand.) Speaking of Mary she is the highlight of the cast with a hilarious performance from McKelle Shaw.

Madeline Thatcher and Daniel Frederickson have nice chemistry as Anne and Wentworth but one of the challenges of Persuasion is the two lovers aren’t together very much in the story. The version I saw of this at Snow College gets around this problem by having 2 couples cast as a young and old Anne and Wentworth but as this is already a mammoth cast I know that isn’t always possible. Still does present a challenge the adaptation wasn’t fully able to overcome.

There was also a problem the night I attended of a very overheated theatre that made the nearly 3 hour production tough to sit through. I’m not sure what happened but I felt bad for the actors sweating and everyone was getting very antsy. The things we do for theatre! This production of Persuasion finishes it’s run tomorrow 3/8 but I highly recommend getting tickets to the Parker. It is a gem of Utah theatre and even their weaker entries are worth seeing. Their next production is The Sting and you can find more information here. (I say mixed bag just because of the heat and it is my least favorite of the Austen plays they’ve done.)

JESUS CHRIST SUPERSTAR- THE GRAND THEATRE, SALT LAKE CITY

Over the last few years I’ve had the chance to see a number of religious themed musicals including Godspell, Children of Eden and more. One I had never seen, however, is Jesus Christ Superstar but I had the opportunity to see it at The Grand Theatre at SLCC this week, and I found it to be a very intriguing experience.

Obviously this rock opera version of the Christ story is not going to fit into what we see in most traditional church services but hopefully a different setting will help viewers to see the story in a new way. It certainly did so for me. I was very impressed with the live band The Grand had and how director Anne Stewart Mark used the large stage to its fully capacity- even creating layers of choreography with multi-tiered scaffolding for the performers (Jessica Pace choreographer.)

The musical by Andrew Lloyd Webber (music) and Tim Rice (lyrics) clips along at a brisk pace which was a pleasant surprise and helps the proceedings from feeling heavy-handed. Michael Scott Johnson is outstanding as Jesus with a beautiful tenor voice and the ensemble is very strong. Some of the other leads I didn’t think were as strong vocally but not enough to derail the production.

Act II with “Gethsemane” and “Trial By Pilate/Thirty-Nine Lashes” pull no punches and were quite brutal to get through (appropriately so.) It’s no accident they have a Blood Consultant listed in the program (Arika Shockmel) because each lashing and punch felt very real. It might be too much for some viewers but I found it to be quite moving and left me thinking for days after the experience. Jesus Christ Superstar is playing at The Grand until March 22nd and I think it is definitely worth your time. Tickets can be purchased here.

GUYS AND DOLLS- IDEAL PLAYHOUSE, HEBER

I will only say a few words about Guys and Dolls at Ideal Playhouse in Heber because I have already done a full review here. The first time I saw it was at a preview night, which they were kind enough to let me view (I had planned on seeing it opening night but a family commitment came up, and they were kind enough to let me sit in the dress rehearsal.) However, since I didn’t get to see it in a finished form I wanted to see it again, and I had the chance tonight.

This production is what I love to see from community theatre. It’s energetic with mostly young performers doing their best with lively choreography and charismatic leads. I saw Brittany Smith again as Adelaide and she’s fantastic with Eddie Ryan as a young but charming Sky Masterson. I also really enjoyed all the gangsters again with Nathaniel Gay doing a wonderful “Sit Down You’re Rocking the Boat”

Guys and Dolls is such a fun show and the full-theatre projections add a special touch to the production at Ideal. This is a new company and I just love what they are doing there. The musical is playing through March 15th and tickets can be purchased here.

These logged shows I pay for out of pocket and I’d love to do that as much as possible. If you have a show you’d like 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.

‘BETWEEN THE LINES’ SURPRISES AT THE EMPRESS (REVIEW)

| Rachel's Reviews

As much as I love seeing the classics of musical theatre it’s also exciting when I get the chance to see something new and fresh. Such was the opportunity I had this week at The Empress Theatre with their new production of Between the Lines. I had never heard of this musical but evidently it had an off-Broadway run back in 2022. While it doesn’t reinvent the wheel I found it to be a charming coming of age story the whole family will enjoy.

While watching Between the Lines I couldn’t help but think of a few other shows that try to do a similar thing. In particular I thought about Freaky Friday which I have also seen at The Empress (among other places.) Both shows are about a mother and daughter and both interweave fantastical elements into a modern story. The problem with Freaky Friday is some of the ideas feel more awkward than effective, and I genuinely think Between the Lines gets the balance of tones right with more effective songs.

The story for this musical revolves around a teen named Delilah who is frustrated at school and dealing with her parents divorce at home. Her escape from these problems is to dive into a novel and in particular fairytale stories with princesses and heroes. Her latest discovery is a book from the library called Between the Lines. As she reads the characters literally come alive for her and one day she even ends up inside the story of the book.

With there being a real and fantastical setting there allows to be a lot of different types of songs with the actors getting to play a variety of roles. For example, Dusti Mulder plays the mean girl Allie McAndrews in real life but then plays Princess Seraphima in the fantasy world. Director Austin Kimbell and his team make these changes come off with ease and the writers of the musical do a great job balancing the various tones. I’m particularly amazed how quickly the actors changed costume and hair for the different roles.

Ashley Bates and Alex Parkin lead the strong cast at the Empress as Delilah and Prince Oliver respectively. Parkin is particularly endearing as our frustrated prince who wants to be free from the confines of his book. The highlight for him singing-wise is “Something to Hold On to” and a nice duet with Delilah “In My Perfect World.” I also really enjoyed a number the librarian Ms Winx (Katelyn Johnson) sings called “Mr Darcy and Me.”

As much as I enjoyed Between the Lines at The Empress I do think it is a long sit and the creators would be smart to give it a good edit. There were also some microphone problems the night I attended but nothing that hurt my overall experience. Some of the actors could work on enunciating better- something particularly important as these are all unfamiliar songs for the audience. At the end of the day I’d say it’s one of the more entertaining shows I’ve seen at The Empress and definitely worth your time. It is playing through March 15th and tickets can be purchased here.

Between the Lines has music and lyrics by Elyssa Samsel & Kate Anderson with a book by Timothy Allen McDonald & Jodi Picoult based on the novel by Jodi Picoult & Samantha van Leer

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

‘THE BIG QUIET’ AT PYGMALION HITS CLOSE TO HOME (REVIEW)

| Rachel's Reviews

We all go into pieces of theatre for different reasons expecting different results. Sometimes it is to be entertained. Other times it is to be informed but sometimes it’s a chance to see our own life experience parroted back to us in the form of fictional characters. Such was my reaction to the new play, The Big Quiet, which premiered at the Rose Wagner Theatre Black Box this week. It was especially poignant because March marks the 20 year anniversary of my return from my mission for The Church of Jesus Christ of Latter-day Saints and those challenging (and rewarding) experiences have been fresh on my mind. It’s hard to know what someone with no experience in the faith would think but if anyone does see it I’d love to hear what you think.

The Big Quiet is written by Morag Shepherd and is based on her own missionary experience set right around the same time I was on my mission. This setting is a smart choice because the missionaries were more isolated at that time not having access to cell phones or the ability to even call their loved ones more than twice a year. It is also smart of Shepherd to go with sister missionaries over elders because the companionship experience is more intense for sisters as is the isolation simply because there are less sisters than elders.

The two missionaries in question are Sister Garcia and Sister Roberts played by Juls Marino and Lily Hilden respectively. They are both excellent in their roles and deliver Shepherd’s biting dialogue in authentic way feeling completely believable even in the more bombastic moments. I also appreciated the attention to detail in the apartment by set designer Allen Smith. Everything from the books, to the pictures of Jesus felt right out of one of my missionary apartments.

The most effective aspect of the play is Shepherd’s writing for the strict sister Sister Roberts. Repeatedly she says “you’re not supposed to____” or “that’s against the rules.” Some might find a young person like Roberts to be hard to believe but she is light compared to what I was like on my mission. I remember agonizing over whether my Christmas phone call to my parents was going to be too long. In fact, my companion wrote her parents telling her she didn’t want to do the call because she was so worried she would go over time. Is that insane? Yes it is but it’s true. I would have literally had a nervous breakdown if I had a companion do any of the things Sister Garcia does.

That does bring me to a weakness of The Big Quiet. While I’m fine with Sister Garcia being a sceptic and facing a faith crisis, I could have used some emotion from her character- especially with the big reveal at the end. Her entire life is changing including losing something she at least at one time believed enough to serve a mission. I think it could have actually been more interesting if Sister Garcia had ended up pushing forward with a mixed testimony and teaching Sister Roberts that faith is complex and nuanced. However, I am also sure that is me bringing my own faith journey into the story. I just think more emotion from Sister Garcia either way would have been good. It would have been nice as well for Sister Roberts to have a couple introspective moments away from Sister Garcia (part of the struggle of a mission is you don’t get any moments away from your companion but still) So little of her obedience feels consensual. She never says “I chose to follow this rule.” It’s always the rule exists therefore we have to follow it.

Nevertheless, Shepherd’s work here is excellent and definitely worthy of your time. The show is directed by Tamera Howell and is playing through March 8th. Tickets can be purchased here.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

‘LES MISERABLES’ NATIONAL TOUR IS FINE BUT NO MASTER OF THE HOUSE…(REVIEW)

| Rachel's Reviews

Anyone who has followed my content for any amount of time knows how much I love and adore the musical Les Miserables. I realize it is beloved by many and I am by no means unique in this love but there it is. Les Miserables was the first musical I ever loved and it’s just one of those shows that even a bad rendition is still Les Miserables (I’m talking to you Hollywood movie…) Anyway, I certainly wouldn’t say the current national tour playing at Eccles through March 15th is bad. It has many positive attributes. I do, however, find many of its choices to be misguided and I’ve seen local productions that are significantly better.

The biggest standout of this production of Les Miserables is in the projections by Finn Ross and Fifty-Nine Productions. I know some roll their eyes when they hear projections but this is a case of it being used to enhance the storytelling not detract. The most effective example is when Jean Valjean is saving Marius through the sewer and it really helps transform us to that setting. I also enjoyed most of the performers with Christian Mark Gibbs as Enjolras and Victoria Huston-Elem as Madame Thénardier being the best of the cast.

Because I found Enjolras to be so strong the highlight of the night was “Do You Hear the People Sing?” which is every bit the rousing anthem one wants it to be as is “One Day More” which send us into the intermission inspired and excited. Everything one loves about Les Miserables is here and that will always provide great enjoyment for the viewer.

Now I admit some of my critiques of the night are on the nitpicky side but when you’ve seen a show as many times as I’ve seen Les Miserables that’s to be expected. At the end of the day it’s still Les Miserables, and I still love it flaws and all.

Unfortunately director Laurence Connor and James Powell make some strange choices. The biggest amongst these being having no tables and chairs in “Empty Chairs at Empty Tables.” It would be one thing if it was an experimental production with lots of abstract imagery but it’s not so for the emotional heart of the musical to all the sudden become minimalist is bizarre and distracting.

Other odd choices is having Javert (played by a very good Nick Rehberger) have long flowing hair which looked like out of a 80’s hair band. Also Cosette’s dresses were all too short making it feel like it was the understudy stepping in last minute and not Delaney Guyer in the role. Speaking of Guyer I found her baby-voiced performance for Cosette to be strange and off-putting.

Nick Cartell is good as Jean Valjean particularly in Act II but early on he seemed too young to have been a prisoner for 19 years. He’s too clean shaven and fresh faced to be our weary and bitter parolee. His wig in act II was also a little sloppy and could be better. Another weird performance choice is Matt Crowle as Thénardier. He sounds like he’s Thénardier by way of New Jersey. There were times when it seemed like he was doing a Nathan Lane impression which is very odd for a French innkeeper.

Some of the lighting was also strangely done like in the battle at the barricade that felt more like a rock concert than Les Miserables (although I did like that the gun powder pyrotechnics produced actual smells of real flames.) That is an immersive touch. I also think if you are going to have projections why not have rain projected in “A Little Fall of Rain?” That seems like a missed opportunity!

In the end, Les Miserables is a musical masterpiece and there is much to enjoy in this national tour. If you head over to Eccles you’ll probably have a good time. It’s just got some flaws that kept me from gushing over it. It’s playing through March 15th and tickets can be purchased here.

Les Miserables contains music by Claude-Michel Schönberg, lyrics by Herubet Kretzmer with original text by Alain Boubil and Jean-Marc Natel based on the Victor Hugo novel.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

‘HARRY POTTER AND THE CURSED CHILD: TEEN EDITION’ DELIVERS THE MAGIC AT RIVERTON HIGH (REVIEW)

| Rachel's Reviews

Last fall I had the chance to see Harry Potter and the Cursed Child: Teen Edition at a local high school and while I was impressed with the teens I did not like the play itself. After this experience I was hesitant to review the play again but when Riverton High School invited me I decided to give it another chance. While still not my favorite play I did like it more this time and was thoroughly impressed with this production.

What I always look out for in a high school production is how many students are involved and is the director getting the most out of those students. Director Clin Eaton and his team at RHS seem to be achieving this in spades as the ensemble is massive and as many students as possible are given lines and moments to act in the play. For example, one of my favorite sections of the play is a long stretch where a ton of the kids perform magic tricks for the audience. Not only did they all excel at their tricks but it makes me happy to see so many students getting their moment to shine.

In my previous review of Cursed Child I mentioned the heavy use of projections over traditional hand-made sets. While this is still the case at RHS I had less of an issue with it as the students were clearly involved in other aspects. I don’t mind projections, but I just don’t want it to be a replacement for the positive experience building sets and painting backgrounds is for teens and the opportunities for more teens to get involved. This production had almost no practical sets but the visual effects in flying, quick costume changes were enough creativity for me to be impressed in these areas.

As far as our cast they all are excellent with Cade Snarr and Carter Reid leading the cast as Scorpius Malfoy and Albus Potter respectively. Other standouts in the large cast are Taya Faragher as Delphi Diggory and Tyler Summer as Harry Potter. The dynamic between Harry and Albus is definitely something that teens and parents of teens will connect with and it is the best part of Jack Thorne’s unwieldly play (I can’t believe it is even longer on Broadway and in other formats!)

Like I said, the visual effects they use at RHS for this production are a ton of fun. In one scene not only are deatheaters flying all around the stage but they came into the audience and even landed on my shoulder. That is a ton of fun and is guaranteed to get young students excited about theatre, which is the whole point of high school theatre. While I saw Cursed Child on its closing night I’d definitely keep an eye out for RHS and what they are producing next because between this and Hadestown (which was maybe the best high school production I’ve seen) they are doing outstanding things at this high school’s drama department.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

‘ANYTHING GOES’ AT SGMT IS DELIGHTFUL (REVIEW)

| Rachel's Reviews

The second show that I saw on my quick St George trip was Anything Goes at St George Musical Theatre. They were kind enough to let me review the show on closing night and to bring both my aunt and uncle to the show. I wish I could have gotten down there sooner because what a fun piece of community theatre. I will definitely be back and see more of their quality performances.

The truth is I don’t know why more community theaters don’t do Anything Goes. This screwball comedy with music and lyrics by Cole Porter is funny and romantic with lots of ensemble numbers, spaces for choreography and enough leads to give lots of actors experience they might not otherwise get.

The cast at SGMT is led by Brennan Walters as Moonface Martin. He is a real scene stealer and it is obvious the whole cast is feeding off of his energy. I saw the Porter cast so Shellie Thomas was my Reno, Pierce Robison was Billy and Averi Jackson is Hope. They were all excellent but the real standout was Paige Kennedy as Erma with “Buddie, Beware” being one of the best numbers of the evening.

Nobody sees to Anything Goes for the plot. It’s all about the singing and dancing. At SGMT director Cristin Mortenson Tillinghast and choreographer Nicole Hadley get all they can out of the small space they have to work with. The 2 best numbers of the night are “Anything Goes” and “Blow, Gabriel Blow” where the audience is surrounded by singing and dancing and one can’t help but smile.

Especially for a small community theater the costumes by Staci Martin are a real standout. Whether it is the red dresses for “Blow, Gabriel Blow” or the white sailor inspired looks throughout the amount of time and care that went into each look including headpieces and period appropriate shoes did not go unnoticed. It adds to the immersion when such an attention to detail is paid in a musical like Anything Goes.

One of my favorite parts of Anything Goes at SGMT was the terrific comic timing of the whole cast. I especially loved David Leishman’s broad over-the-top take on Evelyn Oakley and “The Gypsy in Me” was a highlight even if the lyrics are a bit outdated. Other standout numbers include “I Get a Kick Out of You,” “It’s De-Lovely” and “You’re the Top.”

Like I said, I saw Anything Goes on closing night so there isn’t any more opportunities to see it but they have Man of La Mancha coming up so if you’re in the St George area definitely get yourself a ticket to SGMT. As with any piece of community theatre there were flaws with this production of Anything Goes but what they get right they really get right making for a delightful night of entertainment. I really enjoyed myself and can hopefully get down to St George to see more from them again soon. Tickets and more information can be found here.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.

‘WAIT UNTIL DARK’ DELIVERS THE THRILLS AT STAGE DOOR IN ST GEORGE (REVIEW)

| Rachel's Reviews

In the last few years I have tried to push myself when it comes to horror/thriller theatre. Recently I have seen such productions in the genre as Heathers: The Musical, Evil Dead: The Musical and Misery. All of these were outstanding experiences but the thriller I keep coming back to as my favorite is Wait Until Dark. This play written by Frederick Knott in 1966 may just be a perfect piece of theater. Perfectly paced, perfect characterization, perfect thrills (you get the idea.) So I was thrilled when I found out Stage Door Theater in St George (a company I’ve been wanting to check out for some time) was putting on Wait Until Dark while I was going to be in town for a quick trip. To my delight this is such a great production that anyone open for some thrilling entertainment will love.

The biggest aspect that makes this show work is the incredible cast. All are at the top of their game with Coy Andrew Shinn Jr standing out in a big and over-the-top take on the sinister Roat. Rebecca Wright is terrific as the blind lead protagonist Susan Hendrix and Aria Williams is very good as the young Gloria.

The strong cast is carefully directed by Trey Paterson with all the elements coming together to create peak suspense. He and scenic designer Joshua Scott have created a gritty-looking apartment with a window that allows for shadows of the people passing it to become an integral part of the story. We also get the set sufficiently dark when it needs to be and the bedroom doors are situated just right to allow for our big jump scare to give maximum impact.

Granted Wait Until Dark is almost always an easy win for me. I really do think it is a perfectly crafted play from Frederick Knott but if you are in the St George area I highly recommend this production from The Stage Door. It’s a real treat for the performances alone. Don’t miss it! It is playing through March 8th and tickets can be purchased here.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks. Please take a look here.