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Feed the plant at PTC’s fun Little Shop of Horrors (Review)

| Rachel's Reviews

During the spooky season of Fall companies are looking for a darker/horror themed show to do that Utah conservative audiences will tolerate. The Addams Family is a favorite (which can still be seen in all its grandeur at The Ruth) but others like Wait Until Dark and Woman in Black are done frequently. Another local favorite is the campy 80s classic Little Shop of Horrors. It is currently playing at 4 different companies in Northern Utah alone. The latest is at Pioneer Theatre Company and while I think it loses some of its charm on a big professional stage it’s an entertaining production audiences will enjoy.

If you are unfamiliar with Little Shop it tells the story of nerdy botanist Seymour who works in Skid Row Florist Shop and one day finds an unusual venus flytrap type plant he names Audrey II after Audrey the floral assistant who works at the shop who Seymour is in love with. The other main characters are Mr Mushnik who owns the shop, the Urchins who are our Greek chorus for the show and Audrey’s boyfriend dentist, the abusive egotistical, Orin.

Of course the biggest character of the show is Audrey II which starts out small and then becomes bigger with each feeding. The only problem for Seymour is those feedings have to be fresh human blood, which becomes increasingly harder to come by as Audrey II grows (and becomes increasingly larger puppets) and becomes more famous with each passing day.

Little Shop at PTC is directed and choreographed by Gerry McIntyre and he keeps things simple and doesn’t let anything get in the way of the story and characters. The scenic design (designer Bryce Cutler) is kept to the florist shop and anything like the dentist office is staged in front without its own set. The shop is very impressive with the front panel being outside the shop and then it can be lifted up to reveal the inside of the shop. This certainly makes transitions fast and seamless. I will say that some of the signs on the outside of the shop had the look of generative AI graphics. It’s so hard to tell these days but I would prefer a more hand-painted aesthetic especially for a show like Little Shop which thrives on its underground off-Broadway gritty roots.

The standout at in this production is the cast which is uniformly excellent. Andrew Faria is convincing nerd as Seymour and he is up for the challenging vocals and choreography in songs like “You Never Know.” Nicholas Ward gives a deep and surprisingly charming take on Audrey II’s voice (puppeteer Joe Gallina) that you can almost feel him winking out to the audience with his performance. Alanna Saunders has the most difficult role of the piece with Audrey and she brings all the vocal prowess you could ask for to songs like “Somewhere That’s Green” and “Suddenly Seymour.” I also admire how she grows in her performance of the character. The first time we meet her she shoves off having a black eye and says that being from Skid Row that’s all she can expect but by the end she’s strong and makes her own decisions for her life. Not all actors playing this role can bring that kind of journey to the character.

Other standouts at PTC’s Little Shop of Horrors are the impressive costumes by Tina McCartney and the hair and makeup by Kate Casalino- particularly on the Urchins, with that high 1960s look to them perfectly executed. My only real complaint about this production is I do think Little Shop is more at home in smaller more intimate venues and when one can see it for a third of the price at a venue like Murray Arts ($20 there vs $62 at PTC) it becomes harder to recommend. It’s not bad. In fact, it’s very entertaining but is it 3 times as good? Probably not but if you do see it you’ll have a bloody good time and that’s what’s most important. Little Shop of Horrors is playing until Nov 7th at PTC and tickets can be purchased here.

Little Shop of Horrors has music by Alan Menken with lyrics and a book by Howard Ashman based on the 1960 film of the same name directed by Roger Corman. It first opened Off-Broadway in 1982 and has a current revival there since 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.

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.

Men and feminism are useless in PTC’s John Proctor is the Villain (Review)

| Rachel's Reviews

I must admit I came to PTC’s John Proctor is the Villain on Friday having had my own tough day as a modern woman trying to make something for myself in this hard world. My youtube channel has been hacked and it has currently been eliminated from existence. It’s beyond discouraging to see something I’ve worked at for over a decade just gone as if it didn’t even exist. Anyway I came to this play feeling physically exhausted and mentally drained, which isn’t ideal but it’s just the reality of life sometimes. I did my best to focus on the new-to-me play and the production from PTC and overall I enjoyed the experience.

While I do wish there was more nuance to the men in John Proctor is the Villain the playwright takes aim at feminism and supposed advocates for women as well, which helps make the experience interesting and enlightening. There is also a lot of humor and that helps make any preachiness more palatable and entertaining to watch.

This look at feminism comes with a re-examination of the play The Crucible by Arthur Miller which was written in 1953 as a critique of the “red scare” of that time but is set during the Salem Witch Trials of 1692. As is clear from the title John Proctor is the Villain takes this play from the 50s and analyzes it with a modern ‘me-too’ lens. This is interesting to see what group think and womanhood looks like from a 1692, 1953 and 2018 perspective.

The woman in the modern play are high school students in rural Georgia who are reading The Crucible under the guidance of their seemingly charismatic teacher Mr. Smith (Colby Strong.) At the same time the girls are forming a feminist club which is supposed to be helping them (although it is never clear what the purpose of the club actually is.) While there are boys in the club as well as girls it becomes a safe space for the girls to vent their frustrations with their lives.

At PTC director Karen Azenberg faced a challenging situation with their stage being flooded and the play having to be performed at Westminster University. I am sure this has been a very difficult time for the production I do think the smaller venue provided an intimacy which works quite well for this small human story. My only complaint is it was very warm in the theater the night I attended, which makes sitting through the experience more difficult.

The cast for this play is excellent being led by Skye Alyssa Friedman as the energetic nerd Beth who is leading the club and Alex Humphreys as Raelynn who probably has the biggest growth arc of any of the girls. As I said, the men are all fairly one-note with Mason played by Gage Martinez probably having the most nuance as the dumb lug of the group.

I suppose I would be more annoyed by the portrayal of the men as all suspect and predatory if feminism was being presented as a great answer to all of these problems but it isn’t. The play does not have any such easy answers. It all could be seen as quite cynical especially given we see so little societal grown throughout time but the play is funny enough that it keeps the audience from feeling discouraged.

Especially knowing they had a venue change the scenic design by Jo Winiarski is very impressive. It looks and feels like a classroom with a wall of chalkboards that is used by the students with desks and chairs that are moved into different configurations throughout the play. They also have music cues and other sound design by E.E. Bradman

At the end of the day, the message behind John Proctor is the Villain is we cannot lean on any philosophy or movement to dictate how we treat others. Those of ill-intent will manipulate the vulnerable every time whether it be now, the 1950s or 1690s. We have to look at the individuals and decide for ourselves whether the person should be helped or condemned. It’s the only way actual human progress happens- on a case for case basis and we can’t do that without listening effectively. While I do wish there was more nuance it is a message and a play that should inspire a lot of discussion especially if any teens are in attendance. I would love to hear what younger audience members think of it. I’m certainly glad I saw it even on what was a very difficult day. It is playing at PTC through October 3rd and tickets can be purchased here.

John Proctor is the Villain is a play by Kimberly Belflower and it was first performed in Washington DC in 2022 and on Broadway in 2025.

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 might make a habit of seeing ‘Nunsense’ at Springville Playhouse (Review)

| Rachel's Reviews

As much as I love seeing my favorite shows on repeat I also love checking shows off of my blind spot list that I’ve long wanted to see but never had the chance. Such was my opportunity this weekend with Springville Playhouse’s wonderful new production of Nunsense. Oddly enough I’ve seen the sequel to Nunsense entitled Nuncrackers but never the original musical. Now I’m so glad I have as this is a very funny little musical well performed by Springville Playhouse.

The concept for the musical actually sounds quite grim. The nuns lost 52 of their numbers in a horrible accidental poisoning mistake. Now the Reverend Mother Mary Regina played by Robinne Booth is leading the remaining women to put on a talent show to fundraise for the burial of the remaining 4 women. Again this sounds quite morbid but the musical is in reality very funny. I guess you might call it a dark comedy but it’s mostly just a funny good time.

The production is directed by Michael Roberts and Julia Allen and they have created a very intimate space with only a couple of rows on each side of the stage (it’s basically a black box space.) The nun’s school is putting on Grease so the main backdrop looks like a high school production of Grease. It’s delightfully random. I also appreciate the performers are close enough to the audience that no microphones are needed. There were a few times the music drowned them out a little bit without microphones, but I loved the intimate feel the production has. I also enjoyed how the actors would peak out over the top of the set as if they were watching the performance right along with us. It feels authentic, which I appreciate.

My favorite of all the characters is Mary Amnesia played by Amber Roberts. She is a nun who, as the name would suggest, has forgotten who she is or what her real name is. Roberts has terrific comedic timing for the character and plays the dumb blonde in some very funny scenes. I really loved her songs “So You Want to be a Nun?” and ” I Could’ve Gone to Nashville.” I also really enjoyed Andrea Wardle as Sister Mary Robert Anne. She is given the most banter with Boothe, and they pull it off very effectively.

All that said a show like Nunsense is all about the laughs and fortunately the show is funny. It is honestly funnier than I expected- never feeling like it is putting down the characters or their religion which I appreciate. It makes for an endearing and sweet performance that I’m so glad I got to take part in. There are some adult jokes but nothing too bad. I think you could bring kids to this and they’d have a good laugh. Nunsense is playing at Springville Playhouse until Sept 5th and tickets can be purchased here.

Nunsense has music, lyrics and book by Dan Goggin. It premiered Off-Broadway in 1985 and it has spawned 6 sequels including 3 spinoffs.

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.

Hunchback officially takes Terrace Plaza to the next level of local theatre (Review)

| Rachel's Reviews

If you follow my theatre criticism you have heard me use the term “learning company.” This is the moniker I give to community theaters that are more places for education than anything else and they often wear their amateur status on their sleeve. I always say there has to be one place where people can try out the theater without needing an MFA here in Utah. For a long time I would have definitely included Beverley’s Terrace Plaza Playhouse in that learning company group. I’m not even saying there’s anything wrong with that. It’s just what it was for a long time. But this is why you always give companies new opportunities because over the last year I’ve seen a real change at Terrace Plaza. It started with Urinetown, then Freaky Friday was solid and this week their production of Disney’s Hunchback of Notre Dame is so good it may bump them out of the learning company group all together.

In fact, I have a friend who had not the best experience with one of Terrace Plaza’s shows, and I messaged her after seeing this and told her she’d like it. I wouldn’t have done that if I wasn’t confident she’d have a very different experience with this production.

Last year when West Valley Arts did Hunchback I discovered I am a bigger fan of this show in general than a lot of my friends. I admit I do give it a certain amount of credit because it is one of the only of these Disney shows that actually improves upon the animated film it is based on. Most of them are major downgrade especially Mary Poppins and The Little Mermaid. I love how they balanced the tone better than the animated film (getting rid of “A Guy Like You” and adding the Saint Aphrodisius element are such smart upgrades) but they also develop the character motivations much better particularly for Count Frollo.

At Terrace Plaza director and choreographer Aaron Ford has taken this strong material and gathered a group of actors and technicians capable of pulling off the moving story. Quasimodo played by Cameron Ropp is a little smaller than I sometimes see the character but he is very sweet and endearing. Olivia Lusk-Garibay is captivating as Esmeralda. I especially love the red outfit they give her so that when Frollo sings “Hellfire” she literally looks like fire as she dances. That was a brilliant choice by costume designer Jacci Olsen Florence. Speaking of Frollo he is played by Joshua Elden Egbert who is always excellent and he continues that streak here. He is so commanding in the role that the lady sitting next to me whispered “he’s such a creep!” Of course Josh is no creep in real life but that’s how immersive the performance is.

Sometimes Terrace Plaza can underuse the top parts of their stage (that was a critique for Freaky Friday) but for Hunchback they used those areas a lot. The bells looked very real and they used the trapdoor by the bells basically turning the right part of the stage and that platform into Quasimodo’s tower. I also really liked the stained glass lighting feature they had which changed colors for different scenes (lighting designer Melissa Trenery.) This is a nice break from the projections they have been using lately. I don’t mind a projection but will almost always prefer handmade sets if possible.

One of my favorite aspects of this production is the ensemble work- particularly the choral music throughout. The choreography is also very well executed with a massive cast with dozens of actors all dancing together on the stage for numbers like “Topsy Turvy.” I really enjoyed Dre Hay as Clopin, who can be a confusing character because he is joyous but also judgmental and even harsh but Hay finds the right energy to sell the character. Ricky Dowse has a nerdy energy that works quite well for Captain Phoebus and they all have excellent singing voices.

One point I have been critical of some Hunchback productions in the past is when they overplay the afterlife sequence at the end. While it makes sense for Quasimodo to lose his hunch in the after life it can be handled in a cringeworthy way. Not so here. I like that it is just a quick moment, almost like removing a coat, and the focus is quickly on his reunification with Esmeralda and his father. I also like how they handle the ending with the molten ore actually visualizing it with fabric coming out of the caldron. They really think of everything for this production.

There were a few problems particularly with the microphones and sound mix that can be worked on (I saw opening night) but nothing major. I enjoyed this so much I’d consider seeing the MWF cast if I can get up there (it’s an hour from my house.) Recently we had the unfortunate news of OPPA closing up in Layton so we need to support these Northern Utah theatre companies especially when they are putting out such high quality shows as this Hunchback at Terrace Plaza. It’s a must see in Weber County and is playing until 9/29 and tickets can be purchased here. (I had someone ask me about the seats and they are not the most comfortable but they do have cushions available for free which can help.)

The Hunchback of Notre Dame is based on the 1996 Disney animated film with music by Alan Menken and lyrics by Stephen Schwartz. The film is of course based on the novel by Victor Hugo. The book for the musical is from James Lapine and Peter Parnell. It has not been on Broadway but it did recently have a popular concert version in the West End in London. In my opinion it’s one of the only Disney Broadway musicals that actually improves upon the animated films.

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.

‘John Henry vs the Robot’ is as original as it sounds at Great Hall Theatrics (Review)

| Rachel's Reviews

While I am not the most experimental of theatergoers I do enjoy seeing new original productions especially ones from local talent that I can hopefully nurture and support. Such is the opportunity at Great Hall Theatrics with their new original musical John Henry vs The Robot. While this production is not perfect it won me over with its creativity and heart.

The idea behind this comedy is quite clever. In practically a one-man show by Stephen Gashler (he is responsible for book, music, lyrics, producing, directing, and much more) he takes the classic folk hero John Henry and transports him to modern times where he confronts a Mach 21 robot a family has recently adopted. This is a smart take on the folktale because John Henry’s entire story is a tragic confrontation with steam powered machinery. He also creates an appealing counter-balance to the seemingly perfect robot character.

I know people think something has to be a musical to succeed, but I do think this story might have worked better as a straight play. The music didn’t add much to the overall message and without it we could have used the time to dive more into the themes and potentially problematic elements of an 1840s John Henry confronting a modern 2026. In this production John Henry is played by Dorsey Williams and he completely looks the part of the mythical figure. I also appreciate how physical a performance he gives. Several times he is thrown to the stage, which makes him seem all the more commanding when he rises back up to confront the robot.

Tiffany Davis plays Polly, the single Mom who takes John Henry in when her son Bobby finds him by the train tracks. Christopher Doubleday gives my favorite performance as the robot Mach 21. He is funny and gets that synthetic robot voice just right (also does a good Sean Connery imitation!) I also appreciate they kept the robot pretty likable. There really isn’t a villain in this piece.

A good comparison as far as the plot of this show would be the Thor movies over at Marvel. Basically there you have a character of mythological strength confronting modern culture and falling in love. They even both have hammers. Davis has the best singing voice of the cast and gets the best song of the night with “Multidimensional Mom” and “Against the Currents of Time.” Some of the other singing was not the strongest, but I’m inclined to be forgiving for a piece with so much originality.

The set is effective with 2 stories and a painted forest background that allows them to go from the different timelines without any scene changes. Most of the costumes fit the roles quite well except for a suitcoat they give John for his date with Polly that was so oversized I’m thinking it was intentional although the purpose behind that choice was lost on me. It was also quite warm in the Angelus Theatre making the experience more taxing than it might have otherwise been. The spotlight also seemed to wander across the stage and was a little messy.

I also think it is a bit of a mistake to have John Henry confront modern times and not address the race issue at all. I get this is a family comedy but a man like him would have all kinds of emotions and feelings especially when it comes to courting a white woman like Polly. I am sure it’s challenging writing about these themes but it feels disingenuous to not mention them at all.

That said, there is a lot of good here in this quirky little musical at Great Hall Theatrics. I can guarantee you this- you won’t see anything quite like it in Utah this year and there’s something to be said for that. John Henry vs the Robot playing through August 29th and tickets can be purchased here.

John Henry vs the Robot is created by Stephen Gashler and it is based on the classic folktale of John Henry which originated in the 1840s. He was known as the “steel-driving man” who confronts a steel drill and is driven to exhaustion. The actual man the legend was based on was born in 1848, and he did not actually die of exhaustion like the myth would have us believe. For more information on John Henry click here.

I need your help!  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.

Take the Family to Terrace Plaza’s ‘Freaky Friday’ (Review)

| Rachel's Reviews

I know many theatre lovers grumble and complain about the various Disney family based musicals, and I understand the concerns. However, the Disney musicals are not all the same and one of the biggest outliers in their catalog is the musical adaptation of Freaky Friday. Not every choice the musical makes works, but it at least makes bold choices and has something to say to families. It is definitely worth seeing and right now Northern Utah audiences have the chance to see a wonderful production of Freaky Friday at Beverly’s Terrace Plaza Playhouse up near Ogden. It’s about an hour drive for me to get up there but well worth it for this wonderful night of community theatre.

There are some shows that live and die on its lead performances and Freaky Friday is totally one of those shows. The production is double casted but the night I attended had Isabelle Page as daughter Ellie and Lindy Combe as the mother Katherine. They not only both have a challenging group of songs but have the acting task of believably playing they are inhabited by another character- mom inside daughter, daughter inside mom. Fortunately both Combe and Page are up for the challenge and excel at the physical comedy and reacting the way the other would react when they are touched or spoken to in a particular way. It leads to a lot of laughs and effective scenes. It’s also impressive that Page can climb the rope in “Watch Your Back.” It’s really hard to do literal exercise while singing, but she and the whole cast do an excellent job during that sequence (it’s a PE testing day at Ellie’s school.) I also really enjoyed the supporting cast including the nerdy take on Adam by Trey Montgomery Cornell. He is very endearing particularly in the “Women and Sandwiches” number.

The other standout element of this production at Terrace Plaza is the lighting and use of projections. I mentioned this in my log about their recent Urinetown which used the projections so well to add setting and context to the story. While some of these in both musicals are definitely made with AI they aren’t lazy substitutes for hand-crafted sets but a way to enhance the story, which I love to see (projection design by Tyler Cahoon). For example, in Freaky Friday they use the projection to create the magic of the hourglass adding a layer to the storytelling that’s a lot of fun. I also really enjoyed the lighting that surrounds the stage and the way the lights were used in the hourglass to once again create the magic (lighting design Danielle Loveland and Emily Crow.)

While it’s always good to go to musical theatre to be entertained (and this show is entertaining) what director Whitney Cahoon and her team have put together could be even more powerful than just entertainment. This is a show that tackles a lot (arguably too much at times) and it would make a great family night activity and lesson where one could see it with children and talk about themes of loss, grief, forgiveness, and just the humanity of our family members. We think we understand what they are going through but do we really? Probably not and maybe walking around in their shoes metaphorically speaking would do all our families a whole lot of good.

As far as room for improvement at Terrace Plaza some of the choreography feels a little uninspired particularly in the “Biology” sequence, which in fairness, is my least favorite song of the show. Also they have the entire stage decorated including 2 platforms above the chairs but barely use most of the space, which feels like a bit of a missed opportunity.

Terrace Plaza is a company I often classify as a ‘learning company’ meaning it’s a place for people to go and try out theatre- where you don’t need to have an MFA to participate. I love that these companies exist but it can be a bit of a rough time for the audience as people are learning and growing as performers. However, with Freaky Friday and Urinetown I really didn’t have to make those learning company excuses. They have really stepped up their game, and I’m definitely more motivated to make the one hour drive than I might have been previously. I think you will also find it is well worth your time to see Freaky Friday. It is playing through August 1st and then they have another Disney musical Hunchback of Notre Dame coming next. More information can be found here.

Freaky Friday has music by Tom Kitt and lyrics by Brian Yorkey with a book by Bridget Carpenter. It is based on the book by Mary Rodgers and the feature films by Disney (1976 and 2003 being the most popular but I love the underrated 1995 version) There is actually a DCOM of this musical that was made in 2018 starring Heidi Blickenstaff and Cozi Zuehlsdorff. It’s not a perfect adaptation, but I enjoyed it. The musical was written in 2016 where it was first performed in Virginia.

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.

City Hall is turned into a theater with MCT’s ’12 Angry Jurors’ (REVIEW)

| Rachel's Reviews

Anyone who knows me and knows my theatre tastes knows I am a sucker for anything that feels unexpected and immersive. For example, I love when a company takes a space not intended for theatre and turns it into a performance space. I also love being surrounded by movement and action. Such is the cool experience being offered this weekend by Millcreek Community Theatre and their new production of 12 Angry Jurors. You wouldn’t believe it but the play is being put on at Millcreek City Hall in an office room set up as a mini-theater with lighting and seats on all 4 sides (this is a change from previous shows seen in this space, which I enjoyed very much. The only downside is it might not work for someone sensitive to bright lights but I got used to it and enjoyed the immersion. Anyway, you’d never guess walking into city hall office space you’d be treated to such a wonderful play but that’s what you get .

To begin with it’s very smart of MCT to pick 12 Angry Jurors for this type of experience. It not only is a straight play but it all takes place in one room so there’s no need to worry about set changes or other challenges different shows might bring up (their last show was Annie and it was fun but not as successful as this play.) I know a lot of companies are scared to put on straight plays but if they are well crafted like 12 Angry Jurors I really think they make a lot of sense.

Most will know the story of this play from the feature film with Henry Fonda. Indeed, 12 Angry Men is one of the finest closed-door films ever made. Sidney Lumet does such a brilliant job with that film creating atmosphere and tone and the legendary character actors are allowed to dive into their meaty roles with Lee J Cobb and Ed Begley as the racists jurors 3 and 10 respectively. In this adaptation they have made it 12 Angry Jurors and they have 6 females and 6 males making up our jury with Michael Hansen and Shauna Brand as 3 and 10 (these are the 2 most bombastic and controversial of the jurors so they stand out the most.) They are both excellent in their roles as is the entire cast. One would never expect to get such high caliber performances walking up to an office space at city hall! Unbelievable!

Despite the gender swaps director Jax Jessop has kept the events of the play in the 1950s and all of the actors have period appropriate costumes (costume design Eleanor Boam) and most of them are even smoking, which is a detail I don’t expect to see in local community theater. It honestly was about as close to Mad Men meets Utah as one could achieve in this space. I also like the added detail of having an actor, Connor Kraus, playing the accused watching what is happening as men and women debate his life. Again, it helped add to the immersive experience of the night.

Kiana Dipko is good with the less showy role as Juror 8 (the Henry Fonda role if you’ve seen the movie.) It’s important that you don’t overthink the legalese going on here because there are a barrage of behaviors that would call for a mistrial in real life. For example, a juror is absolutely not allowed to bring in a piece of evidence like 8 does with the knife. That all has to go through discovery and examination by the lawyers. You also aren’t allowed to threaten to kill fellow jurors or stage elaborate recreations of the trial in the juror box. None of this matters as a true depiction of a juror room would likely be extremely boring. I’m just saying you have to give yourself over to the piece and if you do it’s a very rewarding experience.

My only critiques of the show are with a couple moments that felt a little workman-like when I would have liked to see more build-up and emotion. Like when 8 shows the knife it’s supposed to be a big reveal and it felt a little bit like an afterthought. Also the jurors weren’t always sitting in their order which only matters for someone like myself taking notes but was a little confusing.

Still I highly recommend checking out 12 Angry Jurors at Millcreek Community Theatre. Unfortunately today is the last day to see it but if you can get out there you won’t be disappointed. Next up they have Romeo & Juliet in their show at Canyon Rim Park. For tickets to tonight’s show look here.

12 Angry Jurors is based off of the 1957 film by Reginald Rose which he adapted from the 1954 teleplay of the same name. the play premiered on the West End in 1964 but didn’t show on Broadway until 2004 where it ran for 328 performances

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.

Something That’s Great at SGMT’s ‘Little Shop of Horrors’ (Review)

| Rachel's Reviews

When I headed down to see Little Shop of Horrors at St George Musical Theatre I was expecting to enjoy it as a piece of community theatre but for whatever reason I did not think I’d love it. Part of it is I had just seen a great version at Centerpoint but I was thoroughly impressed by the quality of what I saw at SGMT and feel it is one of the best pieces of community theatre I’ve seen this year.

I almost don’t know where to begin in my review because they seemingly thought of everything. The space at the St George Opera House is small but they use it well creating an immersive experience (something a lot of theater in the round spaces forget to do!) For most of the show I was sitting right next to Audrey II and having the action literally happen in front of me. This production is so well directed by Brooke Bang. She has gotten the best out of her cast and everything from the puppetry, to the projections works to tell the horror-comedy story.

Speaking of the cast Reed Laudie is perhaps the best Seymour I’ve seen. He’s nerdy and insecure and yet has a terrific belt that works for the songs like “Grow for Me” and “Suddenly Seymour.” Bethany Ure makes for a sweet and endearing Audrey and Greg Belnap is a very good villain playing Orin Scrivello, DDS. The entire ensemble is excellent. Not a weak link in the bunch.

Of course with Little Shop we have to talk about Audrey II and our puppets. For this production all were made by Logan Long and Laura Papp and even though I was literally next door to the medium-sized version I was blown away by their puppetry. It was all part of the immersive experience. One could almost feel fresh blood on Audrey II’s lips with each kill. It is extremely well done.

The costumes by Staci Martin are also very impressive and particularly with the Skid Row Urchins are changed very quickly. Clothes are really important to Audrey’s character as they are a way that she diminishes herself (a girl who dresses like me can’t get a nice guy like Seymour…) This production seems to understand this and gets her clothes just right.

The only major feedback I’d give is the sound mix is sometimes off with the backtrack overwhelming the singers. They also could have more red dots on the floor when Mushnik (Dean KM Jones) questions Seymour about them. That’d be a nice touch.

I know not everyone enjoys the horror qualities of Little Shop of Horrors but especially for October it’s a musical theatre classic for a reason. I highly recommend checking out the production at SGMT while you still have the chance. It plays through October 25th and tickets can be purchased here.

Little Shop of Horrors has music by Alan Menken with lyrics and a book by Howard Ashman based on the 1960 film of the same name directed by Roger Corman. It first opened Off-Broadway in 1982 and has a current revival there since 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.