Author: Rachel's Reviews

DON’T NEED LUCK TO HAVE A GREAT TIME AT IDEAL’S ‘GUYS AND DOLLS’

| Rachel's Reviews

I don’t think there is anything better than seeing a classic American musical and it is even better when you get to see said musical from a new company full of energy and life. Recently I had such an opportunity with the chance to see a preview performance of the new production of Guys and Dolls at The Ideal Playhouse. This is the company’s third production, and I can honestly say they keep improving with each musical they put on and Guys and Dolls is the best I’ve seen from them. It’s definitely worth the effort to head up to Heber and see what they are doing there.

My favorite aspect of this production of Guys and Dolls is the casting. I particularly liked the ensemble including a great group of male actors playing our gamblers. Nathaniel Gay is an especial standout as Nicely-Nicely singing my favorite song of the show “Sit Down You’re Rocking the Boat.”

I also really enjoyed Brittany Smith (double cast with Brittany Boice) as Adelaide and Eddie Ryan is a young but charming Sky Masterson. Their songs “Adelaide’s Lament” and “Luck be a Lady” (respectively) are highlights of the show. Rebekah Helm also brings a lot of humor to Sarah Brown. I particularly enjoyed her tipsy scenes in the Havana section. Not all Utah actors can play drunk well and she does a great job!

This production of Guys and Dolls is directed by Steve Anderson and he has worked with his team to expand the small stage with projections across the back and side walls to make things feel as immersive as possible. I think when they do The Little Mermaid they could do even more of that but it’s fun when it does happen. I particularly enjoyed when Sky and Sarah go to Havana, and we as an audience are surrounded by Cuban imagery. There is also a scene where the actor appears in the projection walking in the background which is a very clever fun touch. I think they could lean into that immersivity even more as it is something their theater offers that nobody else does.

It is perhaps helped that Guys and Dolls is just such a likable show. I don’t think I’ve ever seen a production of it I didn’t like. I even like the movie. I did a video on it last year comparing my thoughts with an unfavorable review by Stephen Sondheim that is a pretty fun video:

Guys and Dolls has those romantic comedy roots and the songs are so catchy that it’s an easy crowd pleaser (music and lyrics by Frank Loesser, book by Jo Swerling and Abe Burrows.) If you haven’t seen it lately and are looking for a fun night out check out the production in Heber. It is playing weekends until March 15th so get your tickets now. You can purchase tickets here.

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

UTAH THEATRE LOG 2/1-2/6 (SHREK, BEAUTY AND THE BEAST JR) (RACHEL’S THEATRE LOG 93)

| Rachel's Reviews

Hi theatre lovers! I have 2 quick updates for you. While super busy with the Sundance Film Festival this last weekend I was able to see 2 local shows I’d like to share my thoughts on.

SHREK: THE MUSICAL- KENSINGTON THEATRE, SOUTH JORDAN

One of the big surprises for me as a musical theatre fan and critic was the first time I saw Shrek: The Musical. I am honestly pretty lukewarm on the movie so I did not expect to like the musical interpretation but I saw it back in 2021 for the first time and really enjoyed it. I recently saw it at Kensington Theatre in their black box stage and had a good time with it once again.

This production of Shrek is part of Kensington’s ABC program (Adult Boot Camp) so it is what I like to refer to as a learning company. Being in the black box this was also more stripped down than some of the other ABC productions I’ve seen (they had an Into the Woods that was one of the best versions of that show I’ve seen.) Director Toni Butler is very good at bringing the best out of her cast and helping instill a community spirit that is palpable and makes watching her shows even with flaws a real treat.

Dallin Remund is up to the task of playing Shrek including a consistent accent throughout. He also has nice chemistry with Lydia Butler playing Fiona. Jack Sheehan is a ton of fun as Lord Farquaad never failing to get the most out of his puppet legs which delivers a lot of laughs.

I honestly don’t know how I feel about the casting of a non-POC actor as Donkey. Obviously donkeys do not have a race but I feel the role is so clearly written for a Black actor in mind that it is a bit of a moral grey area. This was also the first time I saw different casting for this role so that might be part of it as well. What do you think?

That said, I still enjoyed this production of Shrek: The Musical and would recommend Kensington to anyone looking for a fun night of local theatre. Next up they have Man of La Mancha which I have never seen so that’s exciting. Tickets can be purchased here.

BEAUTY AND THE BEAST JR- DRAPER HISTORIC THEATRE, DRAPER

It might sound crazy but sometimes I think I prefer the teen editions of popular musicals even more than the grown-up original versions. I like them because they cut away the more bloated elements of a show and leave us with the best the material has to offer. I recently saw Beauty and the Beast Jr at Draper Historic and it was a lot of fun for both teens performing and audience watching.

I saw the Enchanted cast in this double cast show and the teens are all wonderful and putting their best into the experience. When I see a youth production the most important element is the energy and sense of community spirit I sense from the performers. I know it’s not going to be perfect but that’s all part of the fun of it. Director Katie Davis has tapped into that youthful energy here and seems to have brought the best out of her young cast. I particularly enjoyed Tori Piacitelli as Belle and Rowan Morley as Gaston (Gaston is almost always my favorite in this show LOL.)

The ensemble choreography by Makayla Porter is a highlight with them packing as many kids as possible on to the stage and even pulling off a kickline for “Be Our Guest.”

Perhaps it is nostalgia talking but I do think it is a little bit of a shame to rely so much on projections in a production for youth. I have very fond memories building and painting sets in my high school shows and it’s a nice way for young actors with smaller roles to feel valued and included in the production. Nevertheless, it was interesting to see a more stripped down version of Beauty and the Beast with simple costumes and sets especially after I saw the complete opposite massive spectacle over at Hale last Fall. It just shows what a great show it is if it can be entertaining big or small.

Beauty and the Beast Jr is playing at Draper Historic until Feb 22nd and definitely worth your time. They even have audience participation in the transformation with light-up roses that was a fun touch. Draper Historic is a great deal and they have Bright Star coming up so I recommend getting season tickets. More information is available here.

Shrek: The Musical has music by Jeanine Tesori, lyrics and book by David Lindsay-Abaire. Beauty and the Beast Jr has music by Alan Menken, lyrics by Howard Ashman and Tim Rice with book by Linda Woolverton.

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.

UTAH THEATRE LOG JANUARY 2025 (RAGTIME, NOISES OFF) (RACHEL’S THEATRE LOG 92)

| Rachel's Reviews

Hi everyone! I hope you are doing well and enjoying some great local theatre wherever you might live. You might notice this is my first log in January. That is partly because I haven’t seen as many shows with Sundance keeping me busy but also because I am being asked to do full reviews by more companies, which makes me very happy. Not only do I admittedly love getting to see more theatre for less cost (I’m super poor!) but I get to write full reviews for some of my favorite companies. Thank you to anyone who supports what I’m trying to do here.

As things continue to evolve I may have to come up with a different strategy for my patron shows vs attending as a critic but I suppose a monthly log isn’t without value. Let me know if you have any ideas for what you would like to see from me.

RAGTIME- the ruth and nathan hale theater, pleasant Grove

First up I saw the new production of Ragtime at the new theater called The Ruth in Pleasant Grove. This used to be my beloved Hale Center Theater Orem but has now expanded into a massive new structure away from Orem. I was honestly a little hesitant to share this log because after posting what I thought was a relatively benign even positive reaction I received some pretty awful trolling. It is not my desire to hurt castmembers or companies with my logs even if I try to be constructive as any critic would do.

Anyway, here are my thoughts. First about the new complex. It is very grand and beautiful and I really appreciate they kept the intimacy of the HCTO stage as much as they could. It is not a spectacle theater like Hale Sandy (which I love but don’t need a duplicate.) I’m excited to see Cinderella in upcoming weeks to see what they can do with the space with something more fantastical of a setting. My main complaint with the new space is the chairs are very packed in and not as comfortable as I would hope for a new space.

As far as Ragtime, this was a bold show for them to pick as their first production and I admire them greatly for choosing it. I do have some issues with Ragtime in general. It feels a little overstuffed as a musical and some of the plots like everything with Evelyn Nesbit feel like a distraction from our core story of Coalhouse, Mother and Sarah. That said, The Ruth should be very proud of their production. The singing is excellent throughout with Brittany Sanders giving a commanding performance as Mother and Aria Love Jackson a moving portrayal of Sarah.

I appreciate the production didn’t rely on projections as is becoming so common these days. Everything felt real and lived in. The costumes by Dennis Wright are outstanding and the choreography by Joshua Whitehead for a large cast is terrific. The show is directed by Jennifer Hill Barlow and she makes some interesting choices. For example, “Till We Reach That Day” is more of an ensemble song than I have sometimes seen. Usually it is more of an anthem for Sarah’s Friend but making it more of a group number is an effective way to close out act 1.

Ragtime is double cast and playing until Feb 22nd, and it is definitely worthy of your time (if you take families it would be worthwhile to prepare kids for some intense scenes and themes but it could be very instructional and moving for them.) Tickets can be purchased for Ragtime here.

NOISES OFF- CENTERPOINT LEGACY THEATRE, CENTERVILLE

Next up, I saw the new production of Noises Off at Centerpoint Legacy. I am a huge fan of Centerpoint and think it is one of the biggest bang for your buck for theater in Northern Utah. Noises Off is a show I have seen the movie version but never the play so I was delighted to see it last night. (I actually interviewed Marilu Henner who played Belinda in the film here.) I know some people have to be convinced to see non-musicals but this Noises Off is honestly one of the best shows I’ve seen at Centerpoint and one of the funniest plays I’ve ever seen period. I was dying throughout and may even see it again to catch the other cast. That’s how much I enjoyed it.

I saw the MWF cast and they are all absolutely brilliant with Amelia Joan Bowles stealing the show as Vicki/Brooke. She is so good in that ditzy silly dual-role. I also loved Michael Reis as Garry/Roger but they are all great. I truly would put up this cast with any professional cast out there.

For Noises Off to work there has to be a brilliant set and they have one here by scenic designer Truxton Moulton. Not only does it have to work as a 2-story home with lots of doors that are constantly being open and shut but it also has to be flipped around to be a convincing back-side of the stage for act 2 (there are 3 acts for this show.) Director Jennifer Westfall keeps the manic pacing going and every aspect is coordinated perfectly to bring ultimate laughs.

I can’t recommend Noises Off at Centerpoint more completely. It does have some more adult themes but certainly should be fine for teens and up. Noises Off is playing until Feb 25th and tickets can be purchased here.

Noises Off is written by Michael Frayn (1982). Ragtime has music by Stephen Flaherty, lyrics by Lynn Ahrens and book by Terrence McNally (1998)

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.

‘LITTLE WOMEN’ IS MY FINEST DREAM AT HALE SANDY (REVIEW)

| Rachel's Reviews

I have loved the novel Little Women by Louisa May Alcott since I was a little girl. It was the first big book I ever finished and it along with Anne of Green Gables by LM Montgomery (and the Little House books) helped shape my love of literature and stories. It’s probably not a surprise I am also a big fan of the Broadway musical from 2005 with book by Allan Knee, lyrics by Mindi Dickstein and music by Jason Howland. Hale Centre Theatre in Sandy has a new production of this musical in their Jewelbox Theatre and it is an outstanding piece of musical theatre.


I saw the Tues/Thur/Sat cast and they are all excellent in their roles. I particularly enjoyed the male leads (I know funny to say in Little Women but it’s true!) Weston Wright brings a nerdy energy I like to see with Laurie, Landon Horton has a flawless German accent as Professor Bhaer, and George Banner is quite the dreamboat as John Brooke. The women are also great and they had a believable chemistry together as sisters and family. Scout Smith has the independent spirit needed for Jo and Claire Kenny is perfect as Marmee (“Days of Plenty” was a highlight of the night.)

Another standout of this production is the direction by David Smith. He manages to get an intimate and close feel which is not easy to do with the awe and spectacle of Hale. I loved the projection design by Madeline Ashton featuring letters and excerpts from Jo’s books that would change as the story moved forward.  Also the set was cleverly used with a rotating stage with the attic and living room somehow converting to everything from a ballroom to Cape Cod depending on the scene requirements.

The costume design by Joy Zhu is very impressive with each girls look evolving as her situation changed. I love how Zhu used multiple prints within the same look and the ballgowns were clearly from another era as they were Marmee’s former gowns. Amy’s dress is also decidedly European when she comes back from Europe. Details like this keep the visitor entertained which is important in a story they have no doubt seen many times on both stage and screen.

Another small detail I appreciate is the ambient sound from sound designer Kristin Tenney. Since the set is relatively simple it adds something to hear birds chirping when the characters are meant to be outside or the sea hitting the beach when Jo and Beth are at Cape Cod. We go to Hale Sandy for this type of immersive experience, and they deliver in Little Women.

I suppose the only downside to the immovable set is it does not allow for large group scenes like Sally Moffat’s ball is more talked about than seen but I was impressed they made the fantastical sequences work around the sets (these sequences can sometimes drag in this show but they keep things moving pretty well) Like I said, “Days of Plenty” is a highlight of the night as well as “Some Things are Meant to Be.”

Any fan of Little Women will definitely love the new production at Hale Centre Theatre in Sandy. It’d be a fantastic show to introduce families to live theatre and Hale offers half price tickets for youth. Tickets are selling out fast so get yours now 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.

THOUGHTS ON ‘THE BOOK OF MORMON’ NATIONAL TOUR FROM A RETURNED MISSIONARY CRITIC (REVIEW)

| Rachel's Reviews

As a member of The Church of Jesus Christ of Latter-day Saints and returned missionary I of course have heard much about the Broadway musical The Book of Mormon. I had heard some of the songs and that it is super raunchy, but I had never had the opportunity to see it until last week. Now having seen it my response is a decided ‘meh.’ I am sure there are some who will dismiss this reaction as a biased member who can’t take a joke. While there might be some of that (we can’t completely separate our lives from our responses to theatre), I honestly I found the whole thing to be quite bland and wish it had gone harder on the unique aspects of my faith.

In 2003 the creators of The Book of Mormon musical, Trey Parker and Matt Stone (with Robert Lopez) did an episode of South Park on Mormonism that in my opinion was a lot more biting and funny than anything we get here. Most of the jokes in this musical are jokes that could be made about any Christians. In fact, it sometimes felt like they wanted to do a show about evangelicals but that’s not financially viable so put a Mormon skin over it and you’re good.

The biggest example of this is the song “Spooky Mormon Hell Dream.” This song made no sense as Mormons don’t believe in Hell. We certainly don’t believe in a Hell with horns and a devil and damnation. In fact, Mormons believe almost everyone will get some kind of glory in the afterlife with most people who lead good and honest lives getting a pretty high degree of glory. You know who does believe in Hell with a devil with horns? Evangelicals.

It also goes without saying that most of what they show about missionary work is completely ridiculous. Missionaries don’t get assigned a companion for their entire mission out of the MTC. They don’t just make up what to teach on their own. They don’t get to request a transfer to another mission because they don’t like it. The list goes on. None of this would matter if I was laughing but like I said most of the jokes felt bland and expected so I wasn’t laughing.

It also doesn’t help with laughs that the portrayal of the Ugandan people is bizarre and dehumanizing. I understand it’s an over-the-top comedy but humor usually comes from painting a contrast. Something stupid with something smart. Something stable with something high strung etc. Here everyone but maybe Elder Price is a simpleton so it feels pretty cringe-worthy. None of that would matter if I was laughing, (I always say funny saves all) but I wasn’t so it just made me uncomfortable.

The highlights of the musical are the sharp “Turn it Off” which brings the biting satire to the Church I was looking for, and Elder Price singing “I Believe.” The talent is all good in the tour with Sam McLellan as Elder Price and Diego Enrico as Elder Cunningham. The choreography throughout (choreography by Jennifer Werner with original choreography by Casey Nicholaw) is bouncy and energetic and the other technical aspects are all excellent.

It goes without saying that a show like The Book of Mormon has lots to offend including frequent uses of profanity, references to raping babies and other vulgarity. If that doesn’t sound like your thing than I would avoid it. If that doesn’t bother you I can’t say I’d recommend it either but it is a musical enjoyed by millions so what do I know? It is playing at Eccles until January 26th and you can purchase a ticket 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.

‘LUCKY STIFF’ DELIVERS THE LAUGHS AT HERITAGE (REVIEW)

| Rachel's Reviews

I love seeing the classics of musical theatre as much as anyone else. That said, it’s exciting when I get the chance to see a show I am unfamiliar with. Such was the case last Friday when I saw Lucky Stiff at the Heritage Theatre in Perry Utah. This is a favorite company of mine that operates out of a restored church in the middle of nowhere Box Elder County. There’s no better word for the experience they provide but charming. It’s charming and that’s exactly what one wants in a homey community theatre experience. So, I was thrilled to see they were able to install all new chairs (I missed the holiday show unfortunately.) What a wonderful improvement to the theater!

New chairs!

Even though it has been around since 1988, Lucky Stiff is a show I had never seen or even heard of before this production. I know the writing team of Lynn Ahrens and Stephen Flaherty and to be honest they have mixed results. I really don’t like Anastasia or Suessical but Ragtime is impressive. That said, I don’t think I’ve ever seen a comedic musical by them and especially one so over-the-top and zany like this show.

I saw the Monte Carlo cast at Heritage, and it’s a small group of actors, but very effective and skilled in their comedic timing. I was laughing throughout as was the audience surrounding me. The women of the piece are particularly funny with Nicole Frederick playing Annabel Glick, Ashlee Giblette as Rita La Porta and Kimberly Webb-Zimmerman as Dominique du Monaco. They are all excellent in their roles.

The plot for Lucky Stiff is quite outrageous. It is based on a novel but it feels like something old school comedians would do like the Marx Brothers or Buster Keaton. It has that energy a good farce should have. In the musical, a man named Harry Witherspoon (Quin Geilman) receives word that a long lost uncle has granted him a large inheritance in his will; however, in order to get said money he must treat his uncle to a vacation in Monte Carlo- as a taxidermal dead man! As you can imagine all chaos erupts with such a scheme and it’s quite funny.

I do wonder if this material needs to be a musical but there are some fun songs. Frederick gives just the right energy for “Nice” and Giblette is funny with a strong voice in “Fancy Meeting You Here.” Darin W Draper is also quite brilliant as our dead man never breaking character once. I never thought that playing dead would be difficult but it really was a feat to watch.

The production is directed by Amber and Spot Beecher and it does have some more mature moments but everything is staged with taste and to make the audience laugh. The set design by Spot and Jess Tarbet are simple but help the settings change quickly as the characters zip around Monte Carlo and other locations. The costumes by Amber were also just right for this kind of silly farce.

Lucky Stiff is playing at Heritage until February 1st and it would make a great date night, maybe a pre-valentines activity or a good break from serious films at Sundance to have some laughs. Either way it is definitely worthy of your time. Season tickets are very reasonable at Heritage. If I lived closer I would definitely get them. One can find out more and get tickets here.

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

‘HADESTOWN: TEEN EDITION’ IS ANOTHER EXCELLENT PRODUCTION FROM LIAHONA THEATRE (REVIEW)

| Rachel's Reviews

It’s always an interesting thing reviewing high school theatre. While I certainly can be constructive my main goal is to be encouraging and help the programs be the best they can for the students. I must be doing something right because I have received a lot of requests from high schools and I’m always honored to do it (I have 3 more coming up in the next few months.) One of the most popular high school shows right now is Hadestown: Teen Edition. Of course, I reviewed the incredible production at Riverton High last fall, have another one coming up soon and there are at least 2 other locally that I did not see that I’m aware of. Today I am taking a look at the Liahona Theatre at the Liahona Preparatory Academy and their production of Hadestown.

Going into this show my expectations were high as Liahona did one of my favorite productions of 2024 with their Starlight Express and now they have another excellent offering with Hadestown. My favorite part is director Jordan Long clearly encourages a lot of students to participate with huge ensemble scenes covering the stage with choreography by Joleah Long. The Workers numbers were particularly impressive with the students looking appropriately robotic and angry. I believe strongly that high school theatre should be cut-free giving everyone the opportunity to be involved and this is certainly the case with productions like this and Starlight Express.

The stage at the Liahona can sometimes be prone to audio and other technical problems so I was very relieved everything went off without any issues. The set by scenic designers Brian and Canon Hadfield is outstanding with a 2-story subway platform with lighting and sound to give the feel of a subway. It was also interesting that the lighting only had the iconic Hadestown mining lights underneath smaller platforms that they used to move the actors around the set. It was very effective especially in the “Road to Hell (Reprise)” to end the show. The costumes by Melody Hadfield particularly on the 3 Fates are beautifully fit and tailored- perfectly designed for each role.

Compared to the Riverton production this cast did feel younger, which can be a little jarring for the darkness of the content but in some cases it added to the characters. In particular Brigham Ker brings a warmth and tenderness to Orpheus I haven’t always seen. He has a very lovely tenor voice and songs like the “Epic” songs he is a real stand-out. Eurydice, on the other hand, played by Amera Davis can really nail those low notes in songs like “Flowers.” The other leads are all terrific teen performers.

There’s still one more chance to support these wonderful teens in their production of Hadestown: Teen Edition. I think you will definitely find it worthy of your time. You can purchase tickets here.

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

‘DIAL M FOR MURDER’ AT PTC IS HALF A GOOD MURDER MYSTERY (REVIEW)

| Rachel's Reviews

There’s no question that the mystery genre is incredibly popular. In fact, I read the other day that Agatha Christie, for example, has been outsold only by William Shakespeare and The Bible. If readers are looking for a murder mystery on the stage Frederick Knott’s Dial M for Murder is now playing at Pioneer Theatre Company. While uneven, particularly in the first act, it should be able to scratch that sleuthing itch for fans of the genre.

The biggest strength of Dial M for Murder lies in the detective Inspector Hubbard who comes in and starts to put the pieces together for the case. In a way he kind of reminds me of Columbo in his unassuming mannerisms. The biggest problem, however, is he doesn’t arrive until Act 2. This leaves us wading through tedious exposition with clues that the inspector ascertains with ease. I honestly think you could just see Act 2 of this play and be perfectly entertained without any of the build up to the murder.

At PTC the cast is all excellent in their roles with Peter Howard standing out as Hubbard. I just wish that we got him sooner because that first act is tough to sit through. I have no idea why Knott felt we needed long scenes of the conspirator Tony talking to the hitman Lesgate. Do we really need to know about their schooling and backstory? No, we just need to know that he’s the guy Tony hires to kill his wife Margot, and here’s where he hid the key. That’s it.

That said, once Hubbard arrives and the story starts going it’s pretty entertaining. At PTC, director Michael John Garces keeps his actors moving across the stage and uses light and shadow well to create mood and atmosphere (lighting by Tom Ontiveros.) The set by James Noone is interesting with a red and chrome feel to everything. I’m not really sure what era they are trying to evoke but it almost had a Tim Burton aesthetic to it at times.

They do make the choice to gender swap the person Margot has had an affair with, turning Mark into a Maxine. Margot is played by Awesta Zarif and Maxine by Lucy Lavely. Zarif and Lavely have believable chemistry and one can understand why Hubbard is initially suspicious of everyone’s stories involving the murder.

The problem is that first act. I know I’ve said it a few times but it really drags the play down. As far as a recommendation goes, it depends on how much you love mysteries. If you are a big fan, the good ingredients, once Hubbard arrives, may be enough to be entertaining. If you are lukewarm on the genre I’d probably pass on this one.

If you get to see it let me know what you think. You can read my first review of Dial M for Murder at the Covey here. The play is going through January 25th at PTC with special ‘pay what you can’ showings on Jan 21st. You can find more information 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.

BEST OF UTAH THEATRE 2024 (JUNE-DEC)

| Rachel's Reviews

Hi friends! The time has come for me to give my best of theatre awards for 2024. I did a midway post in June and some of those are still in my favorites. Natasha Pierre and the Great Comet at Pioneer Theatre Company, Spring Awakening at Hart, Pride and Prejudice at Parker all stand out as some of the best of the year.

In the second half of the year I saw over 100 shows and that includes an NYC trip. I obviously didn’t see everything but of those 104 here are some of my favorites.

Best Professional Musical-

While I loved Death Becomes Her on Broadway my favorite professional musical I saw here in Utah is the national tour of Peter Pan. I don’t even consider myself much of a Peter Pan fan but this production is full of magic and charm. I absolutely loved the flying scenes and the Captain Hook is very funny. I was very skeptical when I saw it on the Eccles program this year but it ended up surprising me.

I also really loved the Jersey Boys at Pioneer Theatre Company.

Best Professional Play

The best professional play I saw all year has to be Much Ado About Nothing at the Utah Shakespeare Festival. I loved it so much I saw it twice in one trip. Everything about this production was incredible but particular Walter Kmiec as Benedick will forever be my Benedick. He is such a talented actor but the production was also very well directed making already funny scenes even funnier. For example, in the famous gulling scene where Benedick listens to the women talking about Beatrice he gets a pail stuck to his foot which he then can’t get off making the whole scene hilarious. This is one of those productions I wish was a permanent residency so I could see it again and again.

Best Community Theatre Play

I saw many great community theatre plays but the best has to be the incredible intimate experience I had watching Misery put on by Immigrant’s Daughter Theatre and Lil Poppet Productions. It truly was a life changing experience. The entire play was done for a small crowd in the ceramics room at Westminster University meaning our characters were up close and personal. In the wrong hands this could be cringe but Tyson Baker and Stephanie Stroud were brilliant in the main roles of Paul and Annie and I don’t know when I’ve been more engrossed in a story as that experience.

Other wonderful plays I saw A Christmas Carol at Parker Theatre, Arsenic and Old Lace at Hale Orem, The Seagull at Sting and Honey, The Woman in Black at Covey, Harvey at PG Players, and Persuasion at Snow College.

Best Semi-Professional Musical

During October I ended up seeing Jekyll & Hyde twice in one week and they were both terrific productions but what they did at WVPAC was next-level outstanding. Rhett Richins was transformative as the title character and Jessica Knowles Andrus has an incredible voice as Lucy. But it was the direction by Shelby Ferrin that stood out the most with creative choices like having evil be personified with dancers surrounding Jekyll and literally overtaking him in various scenes. I don’t think I will ever see a better version of this musical.

Other semi-professional productions I loved are The Addams Family and Beauty and the Beast at Hale Center Theatre Sandy, Kiss Me Kate at Centerpoint (the best choreography I saw all year), Something Rotten at Music Theatre West, and School of Rock at Centerpoint.

Best Community Theatre Musical

It’s almost impossible to narrow down my favorite musical. I saw so many incredible ones but Mamma Mia at Sandy Arts Guild was remarkable. I honestly am sometimes bored with Mamma Mia but this was so well done if I had been able to find a ticket I would have seen it a second time. Every aspect of this was well done from the performances, to the choreography, to the 2 story immaculately made set.

Other incredible productions I want to shout out is Hunchback of Notre Dame at Timpanogos Community Theatre, Heathers: the Musical at Mad King Productions, Oliver! at Hopebox, and Bandstand at the new DoGood Theatre Company and Evil Dead: The Musical at Sanctuary were all amazing.

Best High School Performance

I didn’t see many high school performances but I can’t end this post without giving a shoutout to the unforgettable production of Hadestown Teen Edition at Riverton High School drama. Every aspect of this was incredible from the singing to the choreography to the lighting and live band. I know many other high schools are doing this edition but the bar has been set high by Riverton. Ethan Hull as Hades has a voice I am sure we will be hearing more from in coming years. What a talent!

There were so many wonderful productions I saw this year. I am thankful to everyone who has supported my career and allowed me to review their shows especially as I am stepping out on my own away from UTBA. It’s an honor and a privilege and something I don’t take lightly. I am so fortunate to be here in the greatest state for community theatre in the country, Utah. Thank you for letting me be a part of it!

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.