Outside of Les Miserables I don’t know if there is a musical that has more classically beautiful songs than The Secret Garden. I have my critiques of the show but it truly has some gorgeous melodies and lyrics and I always am grateful for any chance I have to see it, community theatre or professional. This weekend a wonderful version is playing at Bluffdale Arts and it is definitely worthy of your time.

This production of The Secret Garden is directed by Charity Checketts and Andrea Taylor and before everything began they talked about their personal connection with the piece and they dedicated the performance to the memory of their friends who had “How I Could I Ever Know?” played at their funeral. I love this intimate moment with the directors and audience and giving us some insight into their perspective and emotional state as directors. I wish more companies did this.

In truth the entire production felt intimate and personal which is a hard thing to pull off in the giant Hidden Valley Middle School auditorium. Even Melodee Turner’s performance as Mary felt nuanced and deep where especially at the start sometimes it is all brattiness without the softness to bring home her deep loss and pain. The whole cast is great including Barton Sloan as Archibald Craven and Mattie Curtis as Lily. They of course kept with Bluffdale’s tradition of massive casts including a large children’s ensemble. I’m not a big fan of the “Wick” song but using the kids to symbolize the hidden potential of the garden was very cute and effective.

The costumes by a large team of talented individuals is truly outstanding. You do not expect to have professional quality costumes at an arts council production like this. I love how not only are they intricate with period-accurate details but they are done in a beige color palate which when together look like a sepia-toned turn of the century photograph. What an incredible and immersive detail for a production like this! I also love the sets with 3 moving doorways that flipped around to create different spaces, and they also have a 2-story platform that allows for actors to be singing on different levels. For example, you might have Mary and Collin on the ground level and Albert and Rose on the higher level. This keeps the audiences attention when on its own it’s a musical that can feel a little bloated and tedious.

The main struggles of The Secret Garden at Bluffdale Arts are in the sound department. The microphones gave the actors a lot of issues which is frustrating but not uncommon in a large school auditorium like the one they had to work with. It’s a bummer when that happens, but they pushed forward and that’s what matters most. Even with a few hiccups this production is a magical experience I highly recommend. It is playing through November 10th and tickets can be purchased here.

The Secret Garden has music by Lucy Simon and lyrics and book by Marsha Norman. It is based on the novel by Frances Hodgson Burnett and first premiered on Broadway in 1991 where it ran for 2 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.

I’m not sure why but in the last few years mysteries have gotten increasingly popular both on stage and on the big screen. While there are certainly some good ones I must admit it is not my favorite genre. I often find the cases to be obvious and the clue-solving of the detective to be poorly done. However, if I am going to enjoy a mystery I’m more likely to like it if it doesn’t take itself too seriously and is funny. The more a production can camp it up with the mystery the more likely it is going to appeal to me. Fortunately the new production of Murdered to Death at The Empress Theatre delivers on the laughs making it a fun night of community theatre everyone will enjoy.

One of the things that drives me crazy, particularly about Agatha Christie mysteries, is when the author hasn’t built up the clues well so the detective ends up with a long exposition dump in the final scenes explaining how he or she knows the bad guy committed the crime. It’s just not very satisfying and makes the earlier scenes collecting clues quite tedious and hard to get through.

What I liked about Murdered to Death is they make fun of that very thing. It’s funny when the Inspector Pratt drones on about who might have committed the crime and then someone will point out why that couldn’t be the case and he immediately backtracks. Of course, this is what Christie’s detectives would be doing in the regular mysteries, but we are supposed to accept it in her stories because they are the brilliant detectives on the case.

The production at The Empress is all about the acting with everything else kept rather simple. Everything is directed by Steph Johnson and she has gotten the best performance out of her actors as they could possibly give. They even all have the appropriate accents for the characters whether British or French.

My favorite dynamic of the play is the Jeeves and Wooster-like relationship between Constable Thompkins played by Jiji Dillon and the inane Inspector Pratt played by Paul Gibbs. At one point Pratt even shoots Thompkins in the leg and then she has to walk around with a hurt leg for the rest of the scenes and Dillon shows the frustration of working on this case with this foolish man well. Both Gibbs and Dillon are very funny together.

There are times when the narrative of Murdered to Death feels a little long and I start to get restless but a lot of that comes down to personal taste and my affinity for mysteries (it also takes forever to actually get to the murder or death mentioned in the title.) I still had a really good time with it and it’s nice to see something new in such a charming little theater. I often say I wish more theaters did straight plays instead of musicals. There are so many less moving pieces so they are more likely to master the material and that’s what they’ve done here at The Empress. It’s what we all want from a night of community theatre and it’s playing until Nov 15th. Tickets can be purchased here.

Murdered to Death is written by Peter Gorden and was first performed in 1993. It was written to be a spoof of Agatha Christie. Gordon actually wrote a trilogy of murder mystery spoofs centered around the Inspector Pratt who we are introduced to in this play.

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 aspect of Utah culture that might surprise foreigners is how much we love Halloween and all things spooky. This certainly is true amongst theatre-goers with all kinds of great shows to see that are perfect for this fright-filled time of year. New at West Valley Arts is a 4 part play called Nightfall which will be the perfect choice for someone who wants horror themed theatre with an Edgar Allen Poe approach.

Poe is of course the 19th century poet and author who wrote mysteries and Gothic influenced tales of suspense. In Nightfall writer Eric Coble takes 4 of Poe’s most famous stories and a cast of 6 acts them out for us to enjoy. The 4 stories are The Raven, The Fall of the House of Usher, The Pit and the Pendulum, and The Tell-Tale Heart. I do think it helps the audience follow along with the segments better if they have some familiarity with the stories but I still enjoyed each story as a stand-alone gothic tale. My favorite was probably The Tell-Tale Heart perhaps because it was the last and I was more used to the style of the segments but also it is the most straightforward of the stories.

The cast is all great with them having to show a range of characters and emotions. Christian Johnston plays Poe, Armando Serrano as Usher, with Sofia Paredes-Kendrick standing out as the Raven. The production is directed by Rob Fernandez-Rosa and he really brings all the elements together well and uses the space more effectively than some of the other productions I’ve seen at WVA this year. The sound design by Kieran Morrison is very impressive particularly in The Tell-Tale Heart as the ticking of the clock and beat of the heart is so essential to the story. I also really enjoyed the costumes by Kelsey Nichols particularly for The Raven as they were 19th century period appropriate but had whimsy necessary to sell the characters.

I don’t know if there was a problem the night I attended because the intermission felt exorbitantly long, which I don’t know if there needs to be an intermission for such a short straight play to begin with. There were also a few technical glitches mostly with the microphones but nothing that hampered my enjoyment. Like I said, this experience will be more gratifying if the audience has some familiarity with the Poe stories so I would at least read the synopsis on the program before attending.

Other than that Nightfall is a fun dive into Victorian era spooky storytelling. The acting is great. It surrounds the viewer in the world of Poe’s stories which is a lot of fun. Nightfall is playing through November 1st and tickets can be purchased here. It’s honestly my 2nd favorite show I’ve seen at WVA this year after Hunchback. The production is rated PG-13 and viewer discretion is advised.

Nightfall is adapted by Eric Coble based on 4 tales by Edgar Allen Poe: The Raven, The Fall of the House of Usher, The Pit and the Pendulum, and The Tell-Tale Heart.

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.

In general, I’d say the theatrical community are a very nostalgic bunch. For example, it’s no accident that the show we used to heal after the pandemic is something like The Music Man (I went to NYC to see it in 2021 as so many did.) Despite these shows usually containing outdated elements we love what they have to say about family, community and acceptance. However, I’ve noticed that we don’t always extend this nostalgic forgiveness to more modern shows. Not that we shouldn’t analyze and criticize shows with problematic elements: We should, but we should also be able to accept things as creatures of their time for both modern and classic shows.

I bring all of this up because the new production of Dear Evan Hansen at Pioneer Theatre Company is a good example of a show that screams the 2010s but still has much to offer an audience-member in 2025. It’s the first Utah-based production of this Tony Award winning musical and they have done an excellent job bringing out the best of this material while minimizing the elements that may have not aged as well.

If you think about 2016, when the musical first premiered on Broadway, it captures the millennial battle with social media and the hope that even at its worst moments it could be manipulated into something positive and good. It also acknowledged neurodivergence in Evan in a way we hadn’t seen on the stage (or much in pop culture.) Evan is not the science nerd of the past or a Steve Urkelish misfit but he’s a legit awkward person who strives for acceptance. This makes him particularly vulnerable to his big lie that gets out of control.

At PTC Evan is played by Kyle Dalsimer, and he captures this awkward energy of the character well giving a desperate-to-please-others energy that is easy to connect with. He also has a lovely falsetto that works beautifully for the more challenging belty moments in the songs. Where the book goes too far is Evan starting a relationship with Zoe (Elyse Bell.) Even though this is a dream of his it doesn’t feel authentic to his character to embark on such a relationship and feels too cold and calculated to keep us liking the character. I also find Alana to be a confusing character. I suppose she is meant to symbolize the best and worst of social media but it’s odd to have someone with such cynical actions be presented with such positivity.

Luckily director Karen Azenberg tries to minimalize these problematic elements and focus on the journey Evan goes on- mistakes and all. She has gotten the best out of her entire cast and uses her double-sided set to keep things moving with ease (set design by Bryce Cutler.) The adults are also excellent particularly with Donna Vivino not being afraid to make Heidi exasperated and even unlikable. We are seeing the story through Evan’s eyes and his resentment of his mother is obvious and not unfair given his point of view (Aren’t we all so tough on our mothers as teens?.)

My only real critique of the production at PTC is while I admire the community voices elements it takes too long to bring them into the story. For a while I was wondering if they were going to use the screens at all but then at the assembly they have them for “You will be Found.” This is a problem because it removes the context of the story, the environment Evan is in and the catalyst for expanding on the lie- we have to keep telling it because it’s become this great movement. I realize there is a budget for a show like Dear Evan Hansen, but I think using the community voices sooner and more consistently would help us feel more immersed in the story and empathetic to what Evan is going through. Particularly during “Waiving Through a Window” more social media surrounding Evan would help us understand what his state of mind pre-Connor suicide might be.

While I didn’t hate it as much as most, if you’ve only seen the movie of Dear Evan Hansen I challenge you to check out this production. Even with some dated elements, it still has a lot to say about loneliness, the lies that are so easy to tell through social media, and America in the 2010s. It also has some terrific songs well sung by a talented cast. PTC couldn’t ask for a better start to its 2025-2026 musicals. It is playing through November 8th and tickets can be purchased here.

Dear Evan Hansen has music and lyrics by Benj Pasek and Justin Paul with a book by Steven Levenson. It first premiered on Broadway in 2016 and it won 6 Tony Awards including Best Musical.

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 I’ve said many times before I love getting a chance to see something new and fresh so I was intrigued when I got invited to review the rock opera Deep Love this week. I had never heard of it before but evidently it is just new to me because it has become a cult favorite here in Utah now in its 14th year of touring. While admittedly this style of music isn’t my taste it is very well done and I can appreciate the experience they are providing.

My favorite part of Deep Love is the audience participation they encourage. I have been on record saying theaters are too stuff and uptight about audience participation. They not only encouraged us to dress in funeral attire for the event but announced it was more of a concert environment than a theatrical. So people were responding to the performers, taking photos and occasionally dancing to a particularly good guitar riff.

This participation not only made the night more fun but it is also helpful because it allowed me to follow along on the digital program as everything was happening. They have complete lyrics on the program and scene summaries, which without I would have had no idea what was happening in the story. I made sure to have my screen light completely dimmed as to be as little bothersome as possible but since they’d given permission to have phones out I felt it was ok (also my seatmates were fine with it.)

Even with the guide the story is the thinnest aspect of Deep Love. It’s a love triangle between 4 spirits (dead, not dead, partly dead I’m honestly not sure) and the back and forth between those 4 entities. The makeup by Ariel LaFontaine is stunning and the band is impressive. This production is directed by Liz Whittaker and Chase McKnight, with Andrew Pincock as music director. The cast is all very talented with McKnight as Old Bones and Aspen Palmer as Constance.

I would compare Deep Love to something like Pink Floyd’s The Wall. Sure there is a narrative in there but it’s more about vibes and the music. If you like this kind of hard rock music than you’ll probably love it. For me it was neat to see once, but I probably won’t be itching to see it again. I suppose it is nice to have something with this style of music that all ages are welcome so the dark elements are kept pretty tame. If I was a parent I’d be appreciative of ways to introduce different types of music to my kids without it being too shocking. There was a family with a baby behind me that did have earphones on but still that was surprising! Every family is certainly different. Anyway, if Deep Love seems like your kind of thing and style of music then give it a chance. Either way you’re sure to have a unique experience. The last showing of this run is Oct 27th in Idaho Falls and tickets can be purchased here.

Deep Love is the creation of Ryan Hayes and Garrett Sherwood and was a featured presentation of the New York Musical Theatre Festival in 2015 and at Goodspeed Theatre in 2016. This production is put on by Fairest of Friends Collective.

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.

Last year I had the chance to see Heathers: The Musical put on by Mad King Productions and I was blown away with my experience. I absolutely loved everything about that show so I was excited when I heard Mad King’s next show is a similarly themed We are the Tigers and I knew I needed to see it opening night if possible. While I don’t think the material is as strong as Heathers, Tigers is still a really fun night of theatre and one I recommend checking out while you have the chance.

Like Heathers, We are the Tigers centers around a group of high school cheerleaders with things becoming unexpectedly violent at the team slumber party. The cheer captain is named Riley, and she is intense and maniacally positive. Hannah Romney plays Riley at Mad King and it’s an unhinged passionate performance and I left thinking how is she going to build up that kind of energy to play that role later again that night (I saw the matinee)? Actors are really quite amazing at what they do! It’s an interesting performance because she has the mannerisms of positivity but every other character seems rightly terrified of her and eager to not anger her.

The production takes place at the black box theatre Mad King has at The Gateway so it is a simple set but director Carleigh-Jo Naylor does all she can with the space available. Everything takes place at Riley’s house so it suits a black box stage quite well. Carleigh-Jo is also the costume designer and they all are perfect for a high school cheerleaders look even down to the pom-poms and tight ponytail hairdos.

There were some audio issues, but I appreciate they had a band make a live recording of the music. It’s those additional touches which make a production feel special and memorable. My favorite songs of the show come in Act 2 when the serial killer elements ramp up and the plot becomes less dialogue dependent. I enjoyed “The Breakdown” and “Shut Up and Cheer.” The latter is sung by Yasamin Marashi who plays Eva, a new recruit to the cheer team as the team members are dropping like flies.

Obviously We are the Tigers is a horror-themed show about a serial killer so expect violence, language and other mature discussions but this made it all the more fresh and exciting. The performances at Mad King are up for the material and overall it’s a bold piece of musical theatre. It may not be as memorable as Heathers but it’s still definitely worthy of your time. It is playing through Nov 2nd and tickets can be purchased here.

We are the Tigers is the work of Preston Max Allen (music, lyrics and book) and was first performed off Broadway in 2019

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 downsides of going to the theatre alone (OMT had kindly given me 2 tickets, but I don’t know a lot of people up in Northern Utah or have many friends who like horror) is that when I see something great I don’t have anybody to gush about it with or revel in the excitement of our shared experience. Luckily I have my out of theatre reactions on instagram and this site because as much as I believe in critical analysis sometimes I also just want to gush about great art. Such was my experience after seeing Dracula at Ogden Musical Theatre. Truly a stunning night of theatre and one I hope they keep bringing back as an annual October tradition.

There are so many aspects to this production that are outstanding it’s almost hard to know where to start. Director Maddie Tarbox immerses the audience in the experience of Dracula’s castle with a massive set by set designer Wendall Peery and projections that expand out onto the walls and a platform Dracula can walk on out into the audience allowing for some terrific scary moments.

The costuming by Mandy Shaffer is on a professional level with incredible looks like Lucy’s red bridal dress at the end and the many looks of the count. The makeup and wigs by Cindy Johnson allow Dracula to get younger looking as the play continues and Jonathan Harker appear older at the same time. It’s all these little details that combine together to make an impressive statement.

Connor Padilla is mesmerizing as Count Dracula and he truly puts his whole body into the role and delivers the scares with just the right amount of humor to be especially terrifying. He’s definitely in the running for the best lead acting performances I’ve seen this year. Brandon Garside also puts his entire body into the role of Renfield and Valarie Packer is strong yet vulnerable as the gender-swapped Van Helsing (her costumes are stunning as well.)

The only downside to Dracula at Ogden Musical Theatre is tomorrow is the last day to see it. But as I said, hopefully they will put it on again because I know I’d be back to see it again next year. They have A Christmas Carol coming up next and more information can be discovered here.

This adaptation of Dracula is done by Jennifer Westfall based on the novel by Bram Stoker and I believe it is a version unique to this production. Incredible.

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.