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

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

Macbeth- Parker Theatre, Salt Lake

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

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

Daddy Long Legs- Centerpoint Legacy Theatre, Centerville

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

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

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

Frozen: The Hit Broadway Musical- Disney Plus

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

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

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

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

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

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

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

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

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

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

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

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

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

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

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

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

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

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

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

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

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

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

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

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

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

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

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

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Since I started my support of community theatre after the pandemic one of the biggest surprises I’ve seen is Shrek: The Musical. I’m not the biggest fan of the movie (I like it but don’t love it) and the idea of it being turned into a musical seemed uninspired at best. Then I went and saw it and ended up loving it! It’s such a funny show and expands on all the good parts of the movie. The latest production of 2 I am seeing in August is from The Sandy Arts Guild and is another winner from this wonderful local arts council.

The first element that one can’t help but be impressed by here is the incredible sets by Vic Groves. They always crush it on the sets at Sandy Arts Guild and this is no exception. I love the way they seamlessly combined the projections with the handmade sets making it look immersive and vibrant. Fiona and Lord Farquaad’s castles are particularly impressive with Fiona’s castle creating a believable lava look with stage smoke added in for additional atmosphere. The costumes by Rebecca Fenton-Richards are also magical with the massive cast with unique looks for each of the fairytale characters and looks like Fiona’s short and longer dresses that need to transition quickly. They also have a rubber mask for Shrek that has to look convincing without taking away from the expression of actor Zac Freeman.

Speaking of actors I have little to complain about there. Freeman and Ella Henrie as Fiona have beautiful voices and a fun chemistry together. They could hold their own in any touring company coming through to do Shrek. Alex Taylor is also amazingly nimble on his knees as Lord Farquaad and especially in the opening scenes with Gingy (Savannah Ponder) delivers on the laughs.

One of my favorite moments of the show is “Morning Person” where Fiona ends up tap dancing ala Riverdance style with the blind mice and choreographer Judy Binns along with her strong ensemble of dancers pull this off very effectively. It’s a blast seeing the song grow from just Fiona and the Piper to a giant kickline to close out the song. It’s certainly a terrific way to open the Act 2. “Freak Flag” is another fun number and it’s a chance for us to get a break from the 4 leads and let the ensemble shine (something I really value in community theatre.)

The main feedback I’d give the company is because most of the cast is trying to do an exaggerated voice sometimes it is hard to understand what they are saying or singing about. Make sure to enunciate as much as possible particularly for the songs.

All in all, Shrek: The Musical at Sandy Arts Guild is a good time with enough laughs and heart to entertain the entire family. It is playing through August 16th and tickets are as low as $12. It will sell out quickly so get your tickets now. They can be purhcased here.

Shrek: The Musical has music by Jeanine Tesori with lyrics and book by David Lindsay-Abaire. It is based on the film Shrek by Ted Elliott, Terry Rossio, Joe Stillman, and Roger S. H. Schulman and book by Shrek!
by William Steig.

If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

Annie as a Broadway musical is underrated. This may seem like a crazy thing to say given its classic status and many revivals but I feel like it is rarely brought up in discussions of the great musicals and it deserves such praise. The songs are so catchy and it has been the catalyst for inspiring many a young girl into a love of theatre. Over at OnStage Blog we did an episode of our podcast comparing Annie vs Matilda (I am sure you all know what side I was on) and it turned out pretty fun.

Anyway, I always jump for any chance I have to see Annie and the current production up at Ogden Musical Theatre was no exception. It’s a drive for me to get all the way up there from Draper where I live but well worth it for this outstanding night of family theatre. Annie at OMT is one of the best productions I’ve seen this year and definitely worthy of your time and money.

This production is directed by Jennifer Hughes and she brings together all the show elements together to fool audience members into thinking they are spending far more than the $23-$31 they’ve just spent. The sets by Daniel Simmons are particularly impressive with the orphanage platforms having 2 levels and the Daddy Warbucks house looking appropriately opulent. She also works with lighting director Daniel Garner to create a convincing New York skyline and a presidential seal for the FDR scenes.

I was also extremely impressed with the attention to detail on the costumes. Annie’s clothes are adorable particularly her finale red dress and her wig changes as she is at the Warbucks. It’s very cute! But even beyond that the attention to detail in period accurate hair clips, tuxedos, maid dresses and footwear did not go unnoticed (costumes by Shelly Burkhardt and wigs by Cynthia Johnson.)

I’ve seen a few productions at OMT and always enjoyed myself but the talent on display and the chemistry of the cast for Annie was exceptional- definitely the best show I’ve seen from them and one of my favorites of this year of community theatre. Elle Hirst is ideal as Annie. You couldn’t ask for more from a young performer and her chemistry with Addison Welch as Warbucks is endearing.

Micky Larson has just enough moxie to play Miss Hannigan giving the right amount of camp in her performance of “Little Girls” and then “Easy Street” with Eva Terranova and Michael Hernandez as Lily St Regis and Rooster respectively. Miss Hannigan is one of the more deliciously villainous characters of Broadway and it’s nice when an actor goes for it in her drunken disdain for the adorable children.

The kids are wonderful in songs like “Hard Knock Life” and “You’re Never Fully Dressed Without a Smile” but the standout is Annie Durham as Molly. It’s a wonder Ms Farrell (Jillian Durham-who’s also great) could resist taking both Annie and Molly they are both so cute. It’s especially impressive how the kids all knew their choreography and projected their songs well in the large Perry’s Egyptian Theater. It’s no easy task!

After seeing this production of Annie, I left the theatre in Ogden thinking “what else could a community theatre do?” It was a marvelous night of theater and all involved should be proud of their accomplishments. I hope that all involved especially the young kids are inspired to do even more local theater. That is after all the greatest indicator of community theatre success in the end. Annie plays through August 9th and tickets can be purchased here.

Annie has music by Charles Strouse and lyrics by Martin Charnin with a book by Thomas Meehan based on Little Orphan Annie comic strip by Harold Gray (and radio show.)

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’ll be honest sometimes I go into Great Salt Lake Fringe Festival with a little hesitation. I’m not the most artsy theatregoer and critic. I can appreciate artistic expression of all types but don’t tend to enjoy the experimental and original works sometimes seen at Fringe. Fortunately this year I chose well and all 5 plays I saw are approachable and narratively easy to digest. The festival continues until August 3rd so there is still time to see these shows and others (I may attend on Sunday to see a few more but I also might want to quit while I’m ahead so let me know if you recommend anything.) Anyway, here is what I enjoyed (the 5th show I saw last week at Immigrant’s Daughter- My Brother Was a Vampire)

I would give them all recommendations

The Words at the Door

The first up was The Words at the Door put on by Sackerson. This is in the Alliance Theater Blackbox and features 2 actors in a relationship drama. The couple is portrayed by Kristina Shearer and Jason Hackney and the play is written by Jesse Nepivoda. The thing that makes this drama unique is the refreshing look at Hackney’s character’s schizophrenia.

I like that the relationship is not all steeped in trauma. We see them meet and have happy even sexy times. Even when things are getting hard the narrative feels realistic and full of humanity for both characters and their experiences. The only thing I might add is a little more context as to why Shearer’s character feels like she can’t raise children with Hackney. While I can see why one wouldn’t want to pass on a genetic condition there are ways to raise children without doing that. I did like the emphasis on our different memories and how it can be a strange thing how differently we look back on the same things. Words at the Door is directed by Matthew Ivan Bennett.

Still Life

My favorite of the festival is a little 2-hander on the Alliance mainstage called Still Life. It’s a friendship story done by Tami Anderson and Beth Anne Martin. The two women are taking their annual friendship retreat together at a wine and painting night somewhere. Martin and Anderson have crafted a very funny script that touches on issues any woman (or middle-aged person) should relate with. I also appreciate that it is purely a friendship story as sometimes I feel like all female stories these days have to be queer romances (which can be great but I also love friendship stories.) One of my favorite lines is when she says “a hot flash is not a power surge”

They time the needle drops of popular 80s songs perfectly and the voice performances add just the right touch. I really enjoyed this one and it’s too bad it’s done at the festival because more deserve to see it.

A Haircut in SLC

Next up we have another insightful comedy with A Haircut in SLC. It is written by Max Ricks and stars him as a young man who is chatting with a hairdresser about their shared Mormon to gay coming out journeys. This is obviously a very personal story for Ricks and one that touches on many local themes and issues. Autumn Bay places the hairdresser and she’s very warm and authentic. In general that’s how I would describe this play- warm and authentic.

There is a point where we learn that Bruce hasn’t been honest with Stevie as he has been telling his coming out story, and I thought he was going to admit he actually hadn’t come out but she had inspired him to do so but that’s not where it goes. Still it’s very sweet and believable. It’s not trying to judge anyone harshly but be supportive and kind. I’m sure many people will be able to connect with it which makes it a great fit for a GSL Fringe.

The Rest is Silence-

I should say that The Rest is Silence is actually written by my cousin Elise C Hansen but I didn’t know that until I was looking at the poster for the show. It is put on by New World Shakespeare Company and is in the Alliance Black Box (Everything I saw at Fringe was in the Black Box except for Still Life.)

This play has a clever concept of the characters from Shakespeare coping with the afterlife at a group therapy rage session. While I don’t think the characters needed to change in Act 2 the actors are game enough and the concept is funny enough to entertain. I do think a certain understanding of Shakespeare and his characters is required to understand (which might not be obvious from the title) but aside from Anthony and Cleopatra I got most of the jokes (I’m seeing that this summer at the Utah Shakespeare Festival for the first time.)

Probably the best joke of the play is when Hamlet (Zachari Reynolds) refuses to hold the skull and shrinks away from it. It could have been funny to have the characters battle with involuntary iambic pentameter or maybe squabble on who has the most iconic lines but still it was an amusing little one act play.

I also have to give Elise credit for playing Ophelia/Queen Elizabeth and having water dumped on her at one point. The Rest is Silence is directed by Blayne Wiley and worthy of your time.

So there you have it. This year’s GSL Fringe. What sounds appealing to you? Are you going to support our local playwrights and actors? I hope so!

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.