music

‘NEXT TO NORMAL’ IS ANYTHING BUT NORMAL AT HART (REVIEW)

| Rachel's Reviews

There are some musicals that are entertaining and there are others that are enriching. What I mean by that is some are a fun escape from your problems but others are a grueling look into those problems. Next to Normal is definitely the latter. It’s deep dive into mental illness and the effects it has on a family are brutal but not without value. Suffice it to say it’s not a musical I can watch every day but I’m glad when I get the chance to see it (I’ve seen it 3 times in recent years.) The most recent production I saw was at Hart Theatre Company at the Regent Street Black Box and it was an outstanding show. Unfortunately I saw it closing night but it cemented Hart as one of the top 3 theatre companies working in Utah today and an amazing bang for your buck.

If you haven’t seen it Next to Normal tells the story of Diana, a woman with severe bipolar disorder and how that illness impacts her husband Dan and daughter Natalie. At Hart Diana is played with great passion and skill by Natalia Noble. Sam Torres is Natalie but the performance I most appreciated is Benjamin Henderson as Dan. Some other interpretations I’ve seen have been rather one-note on Dan. Painting him as some kind of patriarchal beast but I felt director Chase Ramsey and Henderson’s performance brought as much humanity to Dan as they could. After all, he is trying to keep his vows and love a rather unlovable person. He is dishonest with her and completely out of his depths in dealing with her condition but it is a character I feel a lot of sympathy for in spite of his flaws (would most of us do much better? That’s the power in the play to make you ask these questions.)

Being in a small black box it’s remarkable how much Hart was able to do in the space including having a full live band (conductor/piano Nicholas Maughan). They also have the 2-story set with rope lighting that is traditional with Next to Normal. My favorite visual moment of the show was “Wish I Were Here” to open act 2. The lighting and dance (lighting design Michael Gray) used to portray both shock therapy and drug addiction was arresting to say the least and very well executed by Torres and Noble.

Joseph Paul Branca plays the son Gabe and he has a terrific singing voice for some of the best songs like “I’m Alive” and “I’ve Been” (which Henderson was also mesmerizing in.) I don’t think there is any relation but Branca and Noble actually looked a lot like which helped make things feel all the more real. The interesting thing about Noble’s performance is I started to resent her as the story goes on. Resent her for what she’s doing to her family and marriage and I haven’t really felt that when seeing Next to Normal before. I think this is intentional and something that made me think about how we judge people who are suffering. Can we only feel compassion for likable people? When she makes her choice at the end of the piece you feel relieved for Natalie and Dan (and even Diana) and I don’t know that I’ve had quite that response to the end of this show before. It left me pondering long after I left the theater.

The other question that’s interesting in Next to Normal is if our pain is debilitating is it better we forget it? There’s no easy answers to such questions but I appreciated Hart Company for helping me ask them with their arresting production. It’s too bad this run has completed but as I said earlier keep Hart on your radar as next up is another compelling show about marriage- The Last Five Years. More information can be found here.

Next to Normal premiered on broadway in 2009 and has music by Tom Kitt, book and lyrics by Brian Yorkey,

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.

UTAH THEATRE LOG 2/21-3/7 (PERSUASION, JC SUPERSTAR, GUYS AND DOLLS) (RACHEL’S THEATRE LOG 110)

| Rachel's Reviews

Hi theatre friends! I am about to set off to Austin Texas this week for SXSW film festival but before I do so I want to give my quick thoughts on 3 live productions I was able to see as a patron. Please let me know what you have been watching:

PERSUASION- PARKER THEATRE, SALT LAKE CITY

I feel very fortunate to be able to enjoy The Parker Theatre and their special brand of period-themed productions they offer my community. I have enjoyed almost everything they have put on including their annual Jane Austen entry (they’ve done Emma, Pride and Prejudice and now Persuasion.) This Persuasion is probably my least favorite of their Austen adaptations but I still enjoyed it.

What impressed me the most about this adaptation by Kaitlyn & Jennifer Hohl (Jennifer is the director) is how much humor they were able to get out of this story. Aside from Mary, it’s not an Austen novel I associate with a lot of humor but I think that was entertaining and kept enough in the spirit of the novel to not be a problem (I know other audience members that found it more jarring which I can understand.) Speaking of Mary she is the highlight of the cast with a hilarious performance from McKelle Shaw.

Madeline Thatcher and Daniel Frederickson have nice chemistry as Anne and Wentworth but one of the challenges of Persuasion is the two lovers aren’t together very much in the story. The version I saw of this at Snow College gets around this problem by having 2 couples cast as a young and old Anne and Wentworth but as this is already a mammoth cast I know that isn’t always possible. Still does present a challenge the adaptation wasn’t fully able to overcome.

There was also a problem the night I attended of a very overheated theatre that made the nearly 3 hour production tough to sit through. I’m not sure what happened but I felt bad for the actors sweating and everyone was getting very antsy. The things we do for theatre! This production of Persuasion finishes it’s run tomorrow 3/8 but I highly recommend getting tickets to the Parker. It is a gem of Utah theatre and even their weaker entries are worth seeing. Their next production is The Sting and you can find more information here. (I say mixed bag just because of the heat and it is my least favorite of the Austen plays they’ve done.)

JESUS CHRIST SUPERSTAR- THE GRAND THEATRE, SALT LAKE CITY

Over the last few years I’ve had the chance to see a number of religious themed musicals including Godspell, Children of Eden and more. One I had never seen, however, is Jesus Christ Superstar but I had the opportunity to see it at The Grand Theatre at SLCC this week, and I found it to be a very intriguing experience.

Obviously this rock opera version of the Christ story is not going to fit into what we see in most traditional church services but hopefully a different setting will help viewers to see the story in a new way. It certainly did so for me. I was very impressed with the live band The Grand had and how director Anne Stewart Mark used the large stage to its fully capacity- even creating layers of choreography with multi-tiered scaffolding for the performers (Jessica Pace choreographer.)

The musical by Andrew Lloyd Webber (music) and Tim Rice (lyrics) clips along at a brisk pace which was a pleasant surprise and helps the proceedings from feeling heavy-handed. Michael Scott Johnson is outstanding as Jesus with a beautiful tenor voice and the ensemble is very strong. Some of the other leads I didn’t think were as strong vocally but not enough to derail the production.

Act II with “Gethsemane” and “Trial By Pilate/Thirty-Nine Lashes” pull no punches and were quite brutal to get through (appropriately so.) It’s no accident they have a Blood Consultant listed in the program (Arika Shockmel) because each lashing and punch felt very real. It might be too much for some viewers but I found it to be quite moving and left me thinking for days after the experience. Jesus Christ Superstar is playing at The Grand until March 22nd and I think it is definitely worth your time. Tickets can be purchased here.

GUYS AND DOLLS- IDEAL PLAYHOUSE, HEBER

I will only say a few words about Guys and Dolls at Ideal Playhouse in Heber because I have already done a full review here. The first time I saw it was at a preview night, which they were kind enough to let me view (I had planned on seeing it opening night but a family commitment came up, and they were kind enough to let me sit in the dress rehearsal.) However, since I didn’t get to see it in a finished form I wanted to see it again, and I had the chance tonight.

This production is what I love to see from community theatre. It’s energetic with mostly young performers doing their best with lively choreography and charismatic leads. I saw Brittany Smith again as Adelaide and she’s fantastic with Eddie Ryan as a young but charming Sky Masterson. I also really enjoyed all the gangsters again with Nathaniel Gay doing a wonderful “Sit Down You’re Rocking the Boat”

Guys and Dolls is such a fun show and the full-theatre projections add a special touch to the production at Ideal. This is a new company and I just love what they are doing there. The musical is playing through March 15th and tickets can be purchased here.

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.

‘BETWEEN THE LINES’ SURPRISES AT THE EMPRESS (REVIEW)

| Rachel's Reviews

As much as I love seeing the classics of musical theatre it’s also exciting when I get the chance to see something new and fresh. Such was the opportunity I had this week at The Empress Theatre with their new production of Between the Lines. I had never heard of this musical but evidently it had an off-Broadway run back in 2022. While it doesn’t reinvent the wheel I found it to be a charming coming of age story the whole family will enjoy.

While watching Between the Lines I couldn’t help but think of a few other shows that try to do a similar thing. In particular I thought about Freaky Friday which I have also seen at The Empress (among other places.) Both shows are about a mother and daughter and both interweave fantastical elements into a modern story. The problem with Freaky Friday is some of the ideas feel more awkward than effective, and I genuinely think Between the Lines gets the balance of tones right with more effective songs.

The story for this musical revolves around a teen named Delilah who is frustrated at school and dealing with her parents divorce at home. Her escape from these problems is to dive into a novel and in particular fairytale stories with princesses and heroes. Her latest discovery is a book from the library called Between the Lines. As she reads the characters literally come alive for her and one day she even ends up inside the story of the book.

With there being a real and fantastical setting there allows to be a lot of different types of songs with the actors getting to play a variety of roles. For example, Dusti Mulder plays the mean girl Allie McAndrews in real life but then plays Princess Seraphima in the fantasy world. Director Austin Kimbell and his team make these changes come off with ease and the writers of the musical do a great job balancing the various tones. I’m particularly amazed how quickly the actors changed costume and hair for the different roles.

Ashley Bates and Alex Parkin lead the strong cast at the Empress as Delilah and Prince Oliver respectively. Parkin is particularly endearing as our frustrated prince who wants to be free from the confines of his book. The highlight for him singing-wise is “Something to Hold On to” and a nice duet with Delilah “In My Perfect World.” I also really enjoyed a number the librarian Ms Winx (Katelyn Johnson) sings called “Mr Darcy and Me.”

As much as I enjoyed Between the Lines at The Empress I do think it is a long sit and the creators would be smart to give it a good edit. There were also some microphone problems the night I attended but nothing that hurt my overall experience. Some of the actors could work on enunciating better- something particularly important as these are all unfamiliar songs for the audience. At the end of the day I’d say it’s one of the more entertaining shows I’ve seen at The Empress and definitely worth your time. It is playing through March 15th and tickets can be purchased here.

Between the Lines has music and lyrics by Elyssa Samsel & Kate Anderson with a book by Timothy Allen McDonald & Jodi Picoult based on the novel by Jodi Picoult & Samantha van Leer

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.

‘ANYTHING GOES’ AT SGMT IS DELIGHTFUL (REVIEW)

| Rachel's Reviews

The second show that I saw on my quick St George trip was Anything Goes at St George Musical Theatre. They were kind enough to let me review the show on closing night and to bring both my aunt and uncle to the show. I wish I could have gotten down there sooner because what a fun piece of community theatre. I will definitely be back and see more of their quality performances.

The truth is I don’t know why more community theaters don’t do Anything Goes. This screwball comedy with music and lyrics by Cole Porter is funny and romantic with lots of ensemble numbers, spaces for choreography and enough leads to give lots of actors experience they might not otherwise get.

The cast at SGMT is led by Brennan Walters as Moonface Martin. He is a real scene stealer and it is obvious the whole cast is feeding off of his energy. I saw the Porter cast so Shellie Thomas was my Reno, Pierce Robison was Billy and Averi Jackson is Hope. They were all excellent but the real standout was Paige Kennedy as Erma with “Buddie, Beware” being one of the best numbers of the evening.

Nobody sees to Anything Goes for the plot. It’s all about the singing and dancing. At SGMT director Cristin Mortenson Tillinghast and choreographer Nicole Hadley get all they can out of the small space they have to work with. The 2 best numbers of the night are “Anything Goes” and “Blow, Gabriel Blow” where the audience is surrounded by singing and dancing and one can’t help but smile.

Especially for a small community theater the costumes by Staci Martin are a real standout. Whether it is the red dresses for “Blow, Gabriel Blow” or the white sailor inspired looks throughout the amount of time and care that went into each look including headpieces and period appropriate shoes did not go unnoticed. It adds to the immersion when such an attention to detail is paid in a musical like Anything Goes.

One of my favorite parts of Anything Goes at SGMT was the terrific comic timing of the whole cast. I especially loved David Leishman’s broad over-the-top take on Evelyn Oakley and “The Gypsy in Me” was a highlight even if the lyrics are a bit outdated. Other standout numbers include “I Get a Kick Out of You,” “It’s De-Lovely” and “You’re the Top.”

Like I said, I saw Anything Goes on closing night so there isn’t any more opportunities to see it but they have Man of La Mancha coming up so if you’re in the St George area definitely get yourself a ticket to SGMT. As with any piece of community theatre there were flaws with this production of Anything Goes but what they get right they really get right making for a delightful night of entertainment. I really enjoyed myself and can hopefully get down to St George to see more from them again soon. Tickets and more information can be found 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.

‘TALE OF TWO CITIES: LIVE IN CONCERT’ IS SPECTACULAR IN OGDEN (REVIEW)

| Rachel's Reviews

There are times when I think the non-Utah readers of my site think I am being hyperbolic with the quality of the productions in my state but I just wish they could all experience how good so many of them are and they’d see the truth in my praise. Such an example of an outstanding production is A Tale of Two Cities: Live in Concert that is currently running at the Egyptian Theater in Ogden by Ogden Musical Theatre. This is the second production I have seen from them with Aida being good but not great but this one truly blew me away.

Unlike Aida this is a musical I have never seen before and am largely unfamiliar with. I’d actually heard disparaging things about it and that it’s a ‘copy of Les Miserables‘ but I’d just never had the chance to see it. When I found out this was a concert experience I was concerned I’d struggle to follow along but I have read the book by Charles Dickens and they still acted out most of the scenes just didn’t have sets and costumes like a traditional play (all the actors are in black.) They do have projections in the background to set tone which I liked when it was real paintings better than when it was AI drawings but it was effective.

This production is directed by Maddie Tarbox and the large orchestra is directed by Michael Palumbo, and it’s an amazing experience to be a part of. The orchestra is outstanding and the cast is as good as anything you’d see in New York. The whole night I kept thinking this entire production could be done at Lincoln Center and I wouldn’t find it out of place one bit. You’d never expect to find something on that level in Ogden.

Kyle Olsen leads the cast as Sydney Carton with Jessica Knowles Andrus being the other standout as Madame Defarge but honestly they are all great. Not only do they have professional quality voices but they sold the scenes for someone like myself that is unfamiliar with the work.

While this is my first time seeing this show I didn’t feel like it is Les Miserables-light. I can see some similarities in their revolutionary stories but it’s much more of a romantic love triangle than Les Miserables which really only has that for the secondary characters Marius/Cossette/Eponine. If anything Jill Santoriello in her book, music and lyrics have improved on some characters from the novel like Lucie is less of a damsel in distress and has more of a narrative arc through the musical.

The musical does feel a little bloated but all the performances are so captivating and the music so outstanding that I was entertained throughout. A Tale of Two Cities: Live in Concert is playing in Ogden through March 1st and I can’t recommend it more highly. Tickets can be purchased 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.

UTAH THEATRE LOG 2/14-2/20 (XANADU, SHE LOVES ME, CINDERELLA) (RACHEL’S THEATRE LOG 100)

| Rachel's Reviews

Hi everyone! I can’t believe we are at my 100th theatre log! Where does the time go? Today I have 3 shows to give my quick reports on as most companies are asking for me to do full reviews these days. I am certainly being kept very busy watching theatre (happy problem to have seeing too many plays!)

XANADU- UNIVERSITY OF UTAH THEATRE PROGRAM, SALT LAKE

Last year I was a big fan of Starlight Express put on by the Liahona Academy. It was fresh and exciting and full of movement and fun. It is for this reason that when I saw the advertising for Xanadu at the U of U I made sure to squeeze it into my busy February schedule. I realize the plots are different but the roller skating featured in the marketing made think Xanadu would also be a fun and energetic musical. After seeing it there is fun to be had it’s just not very much with the roller skating so that was disappointing.

In fact, there is really only one character that wears roller skates for most of the show. It’s Kira played by Alexa Shaheen. She is very good and is very skilled at several accents including an Australian one. All the students are excellent in this and it was interesting to see another take on the Greek myths since I have seen Hadestown so much recently (I’m actually seeing it again tonight!)

That said I was underwhelmed by the story and found it quite plodding and dull. I have never seen the 1980 film so maybe that is part of it. If I had nostalgia for the movie maybe I would be more charmed by the experience. I never regret supporting student performers but Xanadu as a show just wasn’t for me. Xanadu is playing through 2/23 and tickets can be purchased here.

This production of Xanadu is directed by David Eggers. Music & lyrics by Jeff Lynne & John Ferrar with a book by Douglas Carter Beane based on the 1980 feature film.

CINDERELLA- THE RUTH THEATRE, PLEASANT GROVE

Anyone who knows me knows I’m a big fan of Cinderella. I just love the story of hope and magic so I was very excited when I heard Cinderella is going to be one of The Ruth’s premiere shows in their new theater. This is the “Topher” version of the Rodgers and Hammerstein musical and they did not disappoint. What an enchanting beautiful night of theatre.

I was able to attend the T/Th/Sat cast and I hope to be able to see the other cast before the run ends. Cinderella or Ella is played by Teaira Burge and she is absolutely luminous as our lead. She is warm and kind and everything you could want in a Cinderella. The whole cast is great with Dan Van Ormer as Prince Topher and Bonnie Wilson Whitlock as a deliciously evil stepmother Madame.

Even if you don’t like Cinderella as much as I do this show is worth seeing for the production details alone. Director Rodger Sorensen and his team have seemingly thought of everything. The puppetry throughout is charming, the choreography by Sayoko Knode is dynamic and fun and the costumes are next level outstanding. Costume designer Elizabeth Banks Wertz belongs on Broadway not in Pleasant Grove! I particularly loved a gold dress for the banquet and the wedding dress is unforgettable.

Fortunately there is lots of time to see Cinderella at The Ruth. It is playing until May 3rd and I highly recommend checking this one out. Tickets can be purchased here.

This version of Cinderella is based on the classic story with music by Richard Rodgers and lyrics by Oscar Hammerstein II and a book by Hammerstein and Douglas Carter Beane.

SHE LOVES ME- OPPA THEATRE, LAYTON

Like Cinderella I also love the musical She Loves Me and will go to whomever is putting it on. This includes driving up to Layton to see it at OPPA (On Pitch Performing Arts) this last Monday, and I’m glad I did. What a charming and well performed piece of romantic comedy theatre that I highly recommend.

This production stars Caitlin Olsen as Amalia Balash who secures a job in the opening scenes at a perfumery in Budapest (the original play Perfumerie is Hungarian so must versions are set in Budapest.) Unfortunately for Amalia she doesn’t get along with her boss Georg Nowak played by Cormac Romine but the catch is the 2 enemies are actually writing each other as part of a Lonely Hearts Club. I think someone would have to be pretty cynical to not be charmed by this premise. 2 people falling in love over their words is just an appealing concept and the musical is so well crafted with wonderful songs throughout.

The stage at OPPA is small but I was impressed with how director Mira Jorgensen and set designer Brandon Stauffer created the world of the store and used moveable blocks to create everything from a store counter to a bed depending on the scene. Olsen and Romine have excellent chemistry as our leads but the real standout in the cast is Amanda Murray as Ilona Ritter. She has a lovely singing voice and brought a lot of personality to role with her dynamic acting. The highlight of the night is the “Ice Cream” and “She Loves Me” songs when both of our leads realize they love the person they thought they hated. I also loved hearing Olsen sing “Dear Friend.” OPPA should feel very blessed they have a singer as talented as Olsen in their productions. She elevates everything she is a part of.

OPPA is what I refer to as a learning company so it doesn’t have the polish of something like The Ruth but that’s all part of the charm of a night of community theater. She Loves Me is playing through March 1st and tickets can be purchased here.

She Loves Me has music by Jerry Bock, lyrics by Sheldon Harnick and a book by Joe Masteroff.

So there you have it! What have you been watching and have you seen any of these shows? Happy theatre going!

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.

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.

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

| 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!

New chairs!

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.

‘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.

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