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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.

‘A WONDERFUL WORLD’ SHOULD BE MORE WONDERFUL (BROADWAY REVIEW)

| Rachel's Reviews

One of the frustrating parts about writing criticism of any kind is most people want a binary praise or pan from critics when the truth is usually somewhere in between. With theatre criticism, for example, I rarely see something I outright hate and wish I hadn’t seen. That said, with the high prices of tickets and the many demands on people’s time I can say when something did not entertain me enough to be worth a recommendation. Such is the case with A Wonderful World: The Louis Armstrong Musical, a new musical on Broadway about the famed jazz musician Louis Armstrong. While this musical has much to admire it sinks under the weight of an overlong and dull book that makes Armstrong feel more generic than wonderful.

I saw A Wonderful World on a Thursday but James T Lane was playing the role of Armstrong instead of James Monroe Iglehart. According to the program Lane is the alternate on Tuesday and Fridays but my week must have been an exception; nevertheless, there’s a good chance you might see Lane if you purchase a ticket. While I haven’t seen Iglehart I do think Lane looks a little bit more like Armstrong and he perfectly captures the gravely tone of voice required for the role so I didn’t feel at all cheated not getting Iglehart.

There are also some really strong moments in the musical. The 2 acts are divided into 4 sections by book writer Aurin Squire and each of these segments are narrated and focus on Armstrong’s 4 wives. We also get to know various performers and mob bosses he worked with like King Joe Oliver played by Gavin Gregory. The wives approach is an interesting one because it makes the show feel a little cyclical as there isn’t enough of a difference between each relationship and their rise and fall largely follow the same pattern. The biggest standout is Darlesia Cearcy playing the final wife Lucille as she gets a booming number “That’s My Home.”

The production at Studio 54 is worthy of praise. Direction by Christopher Renshaw is doing what he can with the material with a set by Adam Koch and Steven Royal that has to be able to transform between many different eras and locations quickly. The orchestrations by Branford Marsalis and choreography by Rickey Tripp are also excellent.

If audiences are unfamiliar with the type of jukebox biographical musical A Wonderful World is aping they might find the show more palatable but at nearly 3 hours the predictable beats and repetitive story arcs grow tiresome. I’m not sure how they could cut out one or more of the wives, but it’s a show that could easily be 30 minutes shorter and be better off for it. If you are a huge Armstrong fan and want to learn more about his life than maybe this show will be of interest but if not it unfortunately ends up feeling like more of a slog than a stunner.

If you are interested in learning more about A Wonderful World: The Louis Armstrong Musical check out 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.