life

No More Goodbyes is the powerful message of Plan-B’s ‘Facing East’ revival (Review)

| Rachel's Reviews

One of the great things about running my own site is I can be as personal and introspective as I want to be. For better or worse, I am all things to the site- writer, critic, editor and more. Even so, there are times when a work on the stage almost feels too personal for me to review. People are after all expecting some semblance of professional analysis rather than a personal diary entry. All I can do is try my best to share my reaction and hope I give some guidance of whether the experience is worth recommending. It’s a tricky balance I’m still trying to perfect and I felt it trying to write my review for Facing East at Plan-B Theatre Co.

There’s also an interesting sense of introspection that comes with Facing East for Salt Lake and its most popular religion, The Church of Jesus Christ of Latter-day Saints, of which I am a member. When the play was written both the state and religion were in a different place and yet not that different. I’d like to think we have grown as human beings but there’s still a long way to go. This introspection is part of what made the experience of watching the play so powerful.

The production at Plan-B is directed by Jerry Rapier and it is in the Studio Theatre black box space at the Rose Wagner. In a way the intimacy is important to the success of the work but I do wish the venue was larger so more could experience it (it is sold out for the run.) When you enter there is a stage with background photo printed on the fabric of a cemetery and a newly dug grave and flowers from a funeral service (scenic designer Janice Chan.) A couple has just finished the burial of their gay son Andrew who committed suicide. While they are both devastated their immediate takeaways from the experience are quite different, which is what the play explores.

The couple in question are Alex played by Jay Perry and Ruth played by Christy Summerhays. Alex is a pillar of the Mormon community even getting recognized by broader Christian organizations for his “One Minute Dad” segments on local radio (this would definitely be a tiktok if it was written now.) Ruth is sad about the death of her son but Alex feels an added layer of grief at what he feels like was a dishonest funeral service. Pretending like Andrew was not gay and that the teachings of the church didn’t lead to this death is so upsetting Alex wants to hold a new funeral with Ruth on the cemetery grounds. They are eventually joined by Andrew’s partner Marcus played by Kaplan Keener. He did not grow up in the church and in fact met Andrew on his mission. They had a connection but Ruth see’s him as a temptress who ruined their son, which is crazy, but not doctrinally unrealistic for strict followers to believe.

In many ways there is a sense of optimism within the play despite the sad events being portrayed. Playwright Carol Lynn Pearson talks about the strength of the pioneers and how we can make a difference one step at a time. I’m sure 20 years later we haven’t made those steps as big as we should but there have been a lot of people like Alex who are done throwing stones and fully embraced loving the gay men and women in their lives without any caveats or explanations. I know in my own journey I had to accept that this was a doctrine I just didn’t believe and then I had to decide whether remaining engaged in the faith was helpful. While I am not as zealous or active as I once was I do think remaining present and an active voice for those closeted and depressed is worthwhile (which is what Pearson also did.) Indeed, she wrote a book called No More Goodbyes and this is the most important goal of all- that all men and women are loved for who they are.

Some will make it seem like any deviation in personal beliefs is a betrayal of faith- even apostate but that is a lie. The whole basis of the Mormon doctrine is a young man questioning what he had been taught and finding truth. Even Jesus Himself was known for confronting the Sadducees and Pharisees of his day, upending the money changers at the temple. When I told my leaders I didn’t believe that homosexuality is a sin I thought it was going to be this big moment and to my surprise the leader looked at me and said “Ok.” We may not have any say over the choices of a giant organization and the progress may be frustratingly slow but we can change our own behavior and make sure those in our lives know of our disagreement and know they are loved unconditionally. Their queerness is not an addiction to be conquered or a flaw to be converted from. This is the powerful realization that Alex has by the end of the play and his new resolve is profound. It’s just tragic it had to come after the death of his son. Let’s not let that happen any more.

The 3 actors at Plan-B are fantastic with each of them not only playing the characters of Alex, Ruth and Marcus but they all play Andrew at various ages in flashback sequences. This could be gimmicky but the acting makes it work. I was particularly impressed with the way Perry paused letting us as audience feel his despair. He is not afraid to have a long moment where nothing is said. I also do appreciate the play is only 70 minutes with no intermission. This helps us absorb the message and story where a longer play might be too much and feel overbearing.

Unfortunately this production of Facing East at Plan B is completely sold out. This is such a shame more people won’t be able to watch this moving and important story. I wish they could film it so it could be shared. I’m certainly glad I had the chance to see it. There is a waitlist which is worth joining. More information can be found here.

Facing East was written by Carol Lynn Pearson and was first performed in 2006 by Plan-B and then it transferred Off-Broadway in 2007. Jay Perry actually played Marcus in the original touring production which was also directed by Jerry Rapier.

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.

Regalo’s ’12 Angry Men & Women’ is an unforgettable experience (Review)

| Rachel's Reviews

When I saw that Regalo Theatre Co was coming back into operations I couldn’t have been more thrilled. I absolutely loved so many of their productions including the professional quality White Christmas and an incredibly ambitious Amadeus. After a 2 year absence they are back with a new production and it’s continuing on their tradition of ambitious and entertaining shows: They are not only putting on the classic play 12 Angry Men but they are doing 12 Angry Women with different casts performing on alternating days. I saw both productions (12 Angry Women was in a preview night) and it proved to be a fascinating and powerful experience at the theater.

At first I wondered if the gender differences would be inconsequential but the scripts are different for both productions. It’s small differences but I do think they make subtle differences in the dynamics of the jury and the character arcs for different jurors. The biggest difference is with Juror Three. Jurors Three and Ten are the most boisterous and anger-filled of any of the jurors and acting in either role has to be a dream job for any actor. I won’t get too much into the script but just as an example of the differences between the portrayal of Juror Three in an iconic speech they give about ‘kids today’ this is what the male Juror Three says:

“‘I’m going to make a man out of you or I’m gonna bust you up into little pieces trying.’ When he was 15 he hit me in the face. He’s big, you know? I haven’t seen him in 3 years. Rotten kid! I hate tough kids! You work your heart out”

Where the female Juror Three says:

“After all I’d said about staying away from those toughs- he goes and joins them! I gave him a whipping he wouldn’t forget! And you know what? When he was fifteen he hit me-a woman- his own mother- in the face! He’s big, you know? I haven’t seen him in 3 years. Maybe I’m better off. A rotten kid! I hate tough kids! You work your heart out”

I’m still pondering the differences between these 2 statements. Both have a certain degree of disappointment and entitlement but the female version feels more personal and is possibly has more manipulative power to the other members of the jury who are all also women and presumably mothers. It also feels more sociopathic for a woman to claim maternal rights while admitting to whipping her child in the same sentence where Juror Three as a man, can be more easily brushed aside as a brute of a man.

Anyway, this is just one example that stood out to me but suffice it to say the differences between the two scripts are fascinating and if you can see both versions I highly recommend it. Both productions at Regalo are directed by Michael Carrasco and he has assembled 24 actors who are on a professional quality level. Because this is a one-room show it is an actor’s showcase and Carrasco smartly let’s these talented individuals tell this story and tell it well.

The set designed by Carrasco is simple with a table, a fan that doesn’t work and 2 windows with a cityscape visible outside. We also have a framed picture of President Dwight D Eisenhower letting us know this is happening in the 1950s. We can also see that in the costumes with the suits of the men and the dresses of the women (costumes by Colleen Carrasco, hair and makeup by Hannah Anderson.)

As I said, this play is an actor’s showcase and in particular Jurors Three and Ten get the most bombastic rage-filled dialogue and all 4 Regalo performers are excellent. For the women, I’d say Serene Parker as Juror Three gives the standout performance of the cast. There was something about her going from being the woman crocheting to threatening to kill another woman that was quite mesmerizing. Juror Three for the men is played by Kyle Baugh, and he is captivating as well. Matthieu Kohl and Elizabeth Ludwig chew the scenery as Juror Ten with Kohl able to be more physically dominating especially given he is seated next to the aged Juror Nine played by Robert Bahr and soft-spoken immigrant Juror Eleven played by Jakob Tice (he has a reveal I won’t spoil that is quite moving which is different in the female production.)

Of course, the main takeaway from 12 Angry Men focuses on Juror Eight. He or she has the guts to stand alone at the beginning of the deliberations. This can make this character feel a little preachy or a paragon of virtue, but I didn’t feel that way with either of the Juror Eights we had at Regalo. I particularly loved a moment where Sarah Neipp practically tears up saying “This is a man’s life.” BJ Oldroyd is also great as Juror Eight, and he felt a little bit less of an outsider amongst the other men than Juror Eight did with the women.

As I watched both casts I wondered how I would have voted. Some of the jurors particularly Juror Six and Juror Two seem to switch their votes with ease depending on who is making the argument. In contrast you have Juror Seven and Juror Twelve who seem annoyed by the entire process and having to be involved at all. The Foreman, Juror Four and Juror Eight seem the most academic and rigorous in their approaches to the case (I especially enjoyed Craig Gardner as Juror Seven particularly the way he moved around the stage.)

I truly believe seeing 12 Angry Men is a rite of passage every theatre fan needs to see, and you couldn’t have a better example of this classic play than these incredible actors are putting on at Regalo. Whichever version you see I hope you make time for it as you won’t regret it. It’s regional theatre at its best. The production is being put on at the Hive Collaborative and the casts alternate each night with the last performance being the Women on Oct 24th. Tickets can be purchased here.

12 Angry Men is a play written by Reginald Rose based on his screenplay for the 1957 film. It debuted in the West End in 1964 but not on Broadway until 2004 where it was nominated for 3 Tony Awards.

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. Right now I am crisis with my channel being removed so I could really use your support. 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 love the Great Salt Lake but have mixed feelings on SLAC’s ‘Very Like a Whale’ (Review)

| Rachel's Reviews

People new to my writing might not know that I have actually been a bit of a swimmer in my day- particularly open water swimming. In fact, when it was being run (sadly it is too shallow a lake currently) I completed the Great Salt Lake Open Water Swim 6 times. Anyway, suffice it to say the saving of the lake is something I feel very passionate about.

With these feelings it bums me out that I had such mixed feelings about Salt Lake Acting Company’s new original play Very Like a Whale. The play is by local playwright Troy Deutsch and directed by Alexandra Harbold and for the first 20 minutes or so I was loving the experience. It starts out as a family comedy as generations of return to their home near the GSL to pack things up after the death of their parents. The new matriarch of the family Megan is played by Olivia Custodio with terrific comedic timing. Her banter with choreographer brother Greg (Robert Scott Smith) and her husband Chester (M. Scott McLean) along with more characters is hilarious and worth a ticket just to enjoy their verbal spatting with each other.

I only wish the play had stayed in that family comedy dynamic but unfortunately a new character is introduced named Penelope Dickinson (Sarah Shippobotham) and boy did this choice not work for me. No offense to Shippobotham who does all she can with the role but as soon as she arrives all the energy and comedy I liked so much was sapped out of the play. In its place we were presented with tedious exposition about legalese over the house and the care for the mysterious whales of the Great Salt Lake. The people to the left of me left after this was going on (no intermission in this show) and while I think that is extreme I can understand the inclination. I would honestly rather hear a lecture on the state of the lake (which we do get some of in the play) than hear more about how the brine shrimp are farmed and who owns what part of said farm.

In between the exposition we’d get more of that family banter, and I’d perk up and start enjoying it again and then we’d be back to what wasn’t working. We also have Yolanda Stange and Ben Young looking over the events on a perch above the family. This seemed like a total waste of talent and I kept waiting for them to matter more or become the Statler and Waldorf of this play but they have very few lines. I guess you could say I didn’t get it when it comes to their characters.

I guess I feel frustrated because I loved that family dynamic so much. If Deutsch does any more edits on the play I’d say focus more on that and less on the Wickhams and who owns the whales but that’s just me. The set by Erik Reichert was also a bit of a mixed bag. This is supposed to be in Salt Lake and it looks like Nantucket or Cape Cod. I know it is supposed to be in Box Elder County right near the lake but I’ve never been in a home in Utah that looks like a beachfront vacation rental. I’d find some ways to make it look like Utah. It could even be subversive to have the Proclamation on the Family or something LDS inspired given the family tension. That could be funny. I’d just like it to feel like Utah on set.

In the end, I’d say see Very Like a Whale at SLAC to support local voices and to enjoy the comedic strengths. It’s worth it for those reasons. On a related note, there’s actually a documentary about Great Salt Lake coming out this weekend called The Lake which is flawed but worth seeing especially if you aren’t up-to-date on the crisis GSL is in right now. Very Like a Whale is playing through October 25th and tickets can be purchased here.

Very Like a Whale by Troy Deutsch is a co-world premiere with Cadence Theatre Company (Richmond, VA) in collaboration with Flying Bobcat Theatrical Labratory.

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. Right now I am crisis with my channel being removed so I could really use your support. 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.

Tuck Everlasting at Sandy Arts Guild is worthy of your time (Review)

| Rachel's Reviews

There are some musicals I fall in love with instantly and then there are others that have to grow on me over time. Tuck Everlasting: The Musical is the latter. The first time I saw it I thought it was a real bore but each time I’ve seen it since it’s improved and while I still think it is a bit bloated I find it to be a very sweet and fulfilling musical. In their new production of Tuck Everlasting Sandy Arts Guild continues its outstanding tradition of prestige community theater with a lovely, tender version of this show that is well worth your time.

With direction from Lisa Noyes they tell the story of young Winnie Foster who stumbles upon the Tuck family- a family with a mysterious secret. As she spends time with them (particularly brother Jesse) she learns they mistakenly drank out of a fountain of youth and are immortal. Winnie thinks this is a great idea at first having recently lost her father but she quickly learns this has been mostly full of pain for the Tuck family.

I’m always amazed what Sandy Arts Guild can do with a school assembly hall stage (The Theater at Mount Jordan Middle School.) Auditoriums like this are notorious for being big and boxy and difficult to perform in but they put on such lavish productions you hardly notice. Here they have one beautiful setpiece after another (set design Ricky Parkinson.) I loved the circles surrounding the stage that looked like bubbles coming out of the spring. The carnival set was also bright and colorful. The boat for the fishing scene moved smoothly across the stage. You don’t expect those kind of visuals from a show done at a school like this.

Fortunately the cast lives up to the beautiful stage with Paige Hochhalter capturing all the unbridled optimism of Winnie. The role of Jesse can be on the weird side since he basically propositions a child and tries to get Winnie to agree to join him in immortality in 6 years but Jonah Blaney brings a softness to the role making it palatable. Jennifer Kroff has some devastating moments as Mae Tuck- one can sense her deep loneliness immortality has caused her to feel.

Tuck Everlasting is a show that lives and dies on its dancing. The ballet at the end celebrating Winnie’s life is my favorite part of the whole show (and I’m normally not the biggest dance person so it’s unusual for that to be my favorite.) I love how it captures the highs and lows of life and I loved how they showed the way people joined Winnie’s life and then left along the way. The ensemble also does a great job with the dancing throughout helping make transitions and some of the less exciting musical numbers easier to watch (choreographer Abigail Baugh.)

I still think this musical would be a lot better edited down. Like I’m not sure I need Hugo and the Constable to have songs or the Man in the Yellow Suit to have multiple numbers. It’s too much!

Still, I’d recommend Tuck Everlasting at Sandy Arts Guild for the tender storytelling and striking sets and dance. It’s a big auditorium so we need to fill up those seats! It is playing through October 17th and tickets can be purchased here.

Tuck Everlasting has music by Chris Miller and lyrics by Nathan Tysen. The book is by Claudia Shear and Tim Federle based on the novel by Natalie Babbitt. It first premiered on Broadway in 2016.

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. Right now I am crisis with my channel being removed so I could really use your support. 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.

My full disclosure is I loved ‘The Addams Family’ at The Ruth (Review)

| Rachel's Reviews

One of the problems I sometimes face as a theatre critic and pundit is my loud and vocal opinions are out widely known and circulated making it difficult for me to approach a show in a new way or have a change of heart about a particular material. I like to think I have an open mind for any show but there are times when I feel like I am fighting back against past me and my big mouth. Such an example of this experience happened on Friday when I got a chance to see the new production of The Addams Family at The Ruth (in this sense theatre criticism is very different from film because I am unlikely to see films I’m lukewarm on multiple times where that is not the case with theater.) It might sound like hyperbole, but I truly believe this team has crafted the best version of this musical possible (and I’ve seen it many times) but it is one of the best musicals I’ve seen this year in Utah.

The first aspect we have to discuss is the stage design at The Ruth. Director Jennifer Hill-Barlow and scenic designer Kacey Udy have expanded the stage beyond where it normally extends to with seats with tables surrounding it. The actors then interacted with these patrons and moved up and down the rows frequently making the entire experience feel immersive (I know that’s become an over-used buzz word but it’s true in this situation.) Sometimes this stage can feel a little bit like a giant black box but it didn’t with this design. It felt more like a theatre-in-the-round just with a smaller circle.

I also love how choreographer Sayoko Knode Peterson keeps the actors continuously moving throughout each song. The Ruth has become my go-to theatre company when it comes to innovative choreography and The Addams Family is no exception. They even bring movement into the “Full Disclosure” sequence which is a song that I loathe but them not sitting at a table reciting the dialogue made it as tolerable as that slog of a song can be. I also love how the ensemble adds movement to almost every scene in the form of the ancestors who dance in and around what is happening with the characters.

They have seemingly thought of every detail like they even give out little finger lights for “The Moon and Me” so when Fester sings about the Moon we are literally glowing as an audience along with him. Speaking of Fester there’s a reason why they have single casted the role with Joseph Paul Branca. He stole the show and is absolutely hilarious in the role. My pen wasn’t working so I wasn’t able to write down some of his wise cracks but he had us laughing throughout at some pretty-saucy-for-Utah jokes he told along the way. In fact, the entire cast seemed open to ad-lib and sarcastic asides that again make us all feel more invested than the book for this show normally allows.

Another single casted role is Benjamin J Henderson as Gomez and he has fun chemistry with Brittany Sanders as Morticia. He also gets my favorite song from the show “Happy Sad” and sings it with the sincerity the song requires. The cast can also be seen in video that is integrated seamlessly into the show that makes for a very memorable experience.

Now there are aspects of this show that still aren’t my favorite like the Beinekes get way too much time devoted to them but they did all they could to make even them entertaining at The Ruth. My only major critique was why they didn’t make Wednesday’s dress more yellow (it looked off white to my eyes) but that’s a nitpick.

If you are at all considering attending The Addams Family at The Ruth I highly recommend it. Like I said, it is the best version of this musical I have ever seen, and I left feeling way more entertained than I expected to be. The use of choreography and direction is particularly exceptional. It’s a night fit for even an Addams family member! This musical is playing through October 31st and tickets can be purchased here.

The Addams Family has music and lyrics by Andrew Lippa with a book by Marshall Brickman and Rick Elice base don the comic strip by Charles Addams. It first opened on Broadway in 2010

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. Right now I am crisis with my channel being removed so I could really use your support. 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.

Outstanding acting is reason to see New World’s The Seagull (Review)

| Rachel's Reviews

One of my favorite parts of being a theatre patron is the variety of experiences I get to have. I love a big grand musical like I saw on Thursday with Hale Center Theatre’s My Fair Lady, but I also love the experience I had Saturday night at a small black box production of The Seagull put on by New World Shakespeare Company. While a long Anton Checkhov play won’t be for everyone I’d recommend seeking out this production for the insanely high quality acting alone but also for the immersive and memorable experience you will be treated to.

This is my second time seeing The Seagull and I was struck like the last time with the humor it has. One expects a Russian treatise like this to be dark and solemn and it has those moments but it also has quite a bit of humor. This makes the characters feel more real and human.

If you are new to the material, The Seagull follows a group of artists who seemingly have nothing in common but the desire to create things. Irina (Amber Heinrich) is given number one listing on the call sheet but it is a true ensemble piece. She is an actor who prioritizes her career over relationships including her son Konstantin (Jackson Eastmond) who she gives patronizing affection to. Konstantin is in love with a young actress named Nina (Kate Potter) who then is in love with writer Boris (Zach Reynolds.) And that’s only the start. There are a lot of characters in this play and they are all superbly acted at New World. Since they did the adaptation I do wonder why they didn’t trim it down a little bit as every character didn’t feel necessary but they are very well performed.

The production elements are simple in the black box space with a few props and a backdrop for each of the 4 acts (set design by Blayne Wiley.) Director Shea Potter smartly doesn’t complicate things but let’s his strong cast shine.

As far as downsides to The Seagull it is a long sit at 3 hours. Sitting on those office chairs for that long is pretty brutal so I would recommend bringing a cushion if you can remember. Either way you have to be ready for a long, slow moving drama. The characters aren’t super likable and it can be on the depressing side.

Fortunately you have almost a month to see this play so there’s no excuse to miss it. It is playing until June 27th and worthy of your time for the acting alone. Tickets to New World Shakespeare can be purchased here.

The Seagull is a play written by Anton Chekhov. This adaptation was done by Elise C Hansen. It was first performed in 1896 in Russia.

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