25 (TUCK EVERLASTING, ELVIS, NOISES OFF, THE WEDDING SINGER) (RACHEL’S THEATRE LOG 139)

May 28, 2025May 28, 2025 | Rachel's Reviews

Hi theatre friends! I hope you are doing well. I have some of my logs to update you on. For those new to my site the logs are shorter reviews of performances (mostly theatre) that I have seen as a patron not a critic. If a company is interested in a full review (as well as my social media posts) just let me know at rachelsreviews65@gmail.com.) If you would like to support what I’m doing and get some cool perks check out my patreon.

Meanwhile I have 4 shows to log for you today so let’s get started:

TUCK EVERLASTING- CENTERPOINT LEGACY, CENTERVILLE

Occasionally an incident from my life will impact how a work effects me. Such was the case at Tuck Everlasting at Centerpoint. On the drive up to the theater I witnessed a traffic accident, which is a sobering experience. And of course, a musical about life and death like Tuck Everlasting is going to hit home even more than it might otherwise do after such an experience.

If you didn’t know this musical tells the story of Winnie Foster (Penny Hodson) who one day running away from home meets the Tuck family who have been blessed (or cursed?) with eternal life. She is particularly taken with Jesse (Maxwell Sperry) and they form a strong bond with each other. The whole cast is fantastic at Centerpoint, and I was impressed with not only their various singing abilities but the amount of dance required including a beautiful Act 2 ballet called “The Story of Winnie Foster.” It is worth seeing this show for that ballet alone (and I’m normally not someone who is wowed by dance.)

The choreography by Aaron Ford is outstanding as is the direction by Danny Inkley and the stunning sets with a rotating stage and forest-painted fabric that stretches all the way up the ceiling by scenic designer Joshua Roberts. I do think Tuck Everlasting drags a bit, and I can see why it didn’t last long on Broadway (aside from the ballet does it need to be a musical?) However, this production at Centerpoint is worth your time- especially given their low price-points. It is playing until June 17th and tickets can be purchased here.

ELVIS CONCERT- TRAVIS ALLEN AT IDEAL PLAYHOUSE, HEBER

I don’t often review concerts on here as I am not a music critic, but I wanted to let you all know about what they are doing up at Ideal Playhouse in Heber. In addition to quarterly productions they have musical acts on a regular basis. They seem to specialize in cover bands of classic acts and other vintage performers. I was able to see Travis Allen there last week and it was a lot of fun. He is one of the top Elvis impersonators in the country, and he puts on a good show. I was very impressed with how long the set of songs is and how personal and entertaining he is. It was a little warm in the theater but other than that I had a great time. Definitely check out Ideal Playhouse for their upcoming shows.

NOISES OFF!- PARKER THEATRE, SALT LAKE CITY

I was a little nervous going into Noises Off! at Parker. Not because I didn’t think they would do a good job. I knew they would, but I had just seen it at Centerpoint and sometimes comedies don’t bear the same repetition as other genres. I shouldn’t have been worried because even though I loved what they did at Centerpoint this was equally entertaining at Parker if not more so. I have rarely laughed more than at this hilarious production.

It’s hard to know who to praise more for this success but director Jennifer Hohl has to be top of the list. There are so many moving targets to keep track of including little details like where a plate of sardines are left, or if a bag is hung or not hung on a hook. The whole setting is a play-within-a-play so they need both the set facing the audience and the back which is not to work. Not only that, but when they are behind the set we need to hear them and make it sound differently than those performing directly in front of us on the stage. The sound design is always top tier at Parker and that’s no exception for Noises Off! (sound designer Spencer Hohl.)

My favorite of the performers is Corinne Adair Myers as Brooke/Vicki. She nails every bit of comedic potential in that dumb blonde type character. But they are all really funny. It’s one of the best shows I’ve seen at Parker and that’s saying something. If you like The Play that Goes Wrong I bet you’ll like Noises Off! It is playing through June 28th and ticket can be purchased here.

THE WEDDING SINGER- DRAPER HISTORIC, DRAPER

I have actually already reviewed DHT’s production of The Wedding Singer. The full review can be found here. But I wanted to see the MWF “Poser” cast, so I went with my friend to the Memorial Day show and it was super fun. The big standout of this cast was the supporting performers. Tanner Larsen actually plays George in both casts, and he’s such a talented comedic performer. I also really enjoyed Spencer Bushman as Sammy and Ashlee Howell as Holly. I hope both of them will be considered for leads in future productions. They deserve it. Alyssa Edwards is also really funny as Grandma Rosie. I do feel the other cast is a little more unique and not trying to duplicate the performances in the movie, but this is still a charming show and would make for a great date night. The Wedding Singer is playing at DHT until May 31st and tickets can be purchased here.

Tuck Everlasting has music by Chris Miller and lyrics by Nathan Tysen and a book by Claudie Shear and Tim Federle based on the novel by Natalie Babbitt. Noises Off is a play by Michael Frayn. The Wedding Singer has music by Matthew Sklar and lyrics by Chad Beguelin with a book by Beguelin and Tim Herlihy based on the film with script by Herlihy.

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.

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

January 20, 2025February 14, 2025 | 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!

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.

‘DRAG: THE MUSICAL’ IS A CAMPY GOOD TIME BUT ALSO SURPRISINGLY SWEET (OFF BROADWAY REVIEW)

January 5, 2025January 5, 2025 | Rachel's Reviews

As a film and theatre critic I think it is valuable to push myself out of my comfort zone. While it is good for longevity to find a niche and specialize in content as I have done with romantic comedies and holiday material I want to continually grow and expand my tastes each day. This is why when given the opportunity to see Drag: The Musical during my last New York trip I jumped at the chance. In many ways I am not the target demographic for this show but I think an outsider perspective can often have value and be informative to my readers who may be interested in seeing the play or film but also in allowing their vision of me as a human and critic to not be so narrow and limited. Anyway, I was given the opportunity to see Drag: The Musical at the New World Stages, an Off Broadway theatre and I left having had a good time with a surprisingly sweet and endearing production.

My main context for saying I am not the target demographic for this show is I am basically unfamiliar with the drag movement and the fandom associated with show’s like RuPaul’s Drag Race. I am not morally opposed to it it’s just not something I have watched or become informed on. Those that are familiar with the scene will find much to be excited for in the cast and story of Drag: The Musical. The audience cheered when certain performers appeared so I only assume they have a following and will be enjoyable for their fans to see perform live.

The story (the book, music, and lyrics were all collaboratively written by Tomas Costanza, Justin Andrew Honard, and Ashley Gordon) is basic but it does the job to provide setpieces for the queens to sing, dance and even give some heart that I didn’t expect from a campy show like this. The setup is Kitty Galloway (Alaska Thunderfuck) and Alexis Gillmore (Nick Adams) are feuding exes who run opposing clubs near each other. Unbeknownst to both they are both facing financial struggles and Alexis’ straight brother Tom comes in to help the Fish Tank from going under (Kitty runs the fancier but equally struggling Cat House.)

When I saw it Tom was played by Joey McIntyre, which as an 80s girl was a lot of fun to see. The entire cast had a nice chemistry together even when they were supposed to be feuding with each other. J. Elaine Marcos delivers the lion-share of the laughs playing 3 roles- an IRS agent, a sleezy lawyer, and a difficult landlady. Eddie Korbich plays a character known as Drunk Jerry that was less effective in delivering the laughs but his character is a bridge between both clubs the story relies upon.

Director Spencer Liff keeps the action moving from gag to sentimental moment; however, I do think the show is long for not having an intermission and my friend had to leave midway through to use the bathroom and then struggled to find her seat again. In addition, while I found it to be amusing I wasn’t uproariously laughing like I was for another show I saw at New World Stages as a patron Dracula: A Comedy of Terrors or for The Play that Goes Wrong which is still playing there (although I haven’t seen it there but other places.) Surprisingly I almost find it to be a more satisfying piece of good-natured sentimentality than a laugh-out-loud comedy. At its core Drag: The Musical is about family and of course love and acceptance, which is always a message worthy of sharing.

The production elements of the show are definitely worthy of praise. Jason Sherwood’s set manages to tell the stories of both clubs while giving plenty of space for laughs to occur. The costumes by Marco Marco are as big and over-the-top as fans will hope for and the lighting by Adam Honoré is perfect in capturing that club atmosphere needed for the story.

Both Alaska and Adams are a lot of fun in their roles with Alaska getting the more dishy of the leads but particularly Adams’ interactions with young Yair Keydar playing nephew Brendan are very warm and endearing. Like I said, I think many will be surprised how sweet and family-oriented a show like Drag: the Musical is. It’s certainly not what I was expecting.

If you are in the fandom I definitely recommend finding your way to New World Stages and seeing Drag: The Musical and even if you’re not give it a shot. It just might surprise you! Adam Pascal is now playing the role of Tom, which would be a lot of fun to see. You can find more information and get tickets here.