musical

Centerpoint brings a shattered honesty to Dear Evan Hansen (Review)

| Rachel's Reviews

If someone was going to ask me for the definition of a mixed bag show I might respond with the coming of age musical Dear Evan Hansen. The songs are so catchy and it means well that I enjoy watching it but let’s just say the plot is strange. Anyway, I really appreciate when a company can take a mixed bag show like this and elevate it to something more than the sum of its parts and that’s what Centerpoint Legacy has done with their Dear Evan Hansen. It is one of the best staging of this musical I’ve seen and that includes the Broadway touring company.

One of my favorite parts of Centerpoint Legacy is how they repeatedly use projections to help add to the storytelling not replace it. There is no better example of this than in Dear Evan Hansen. This is a show that has a tradition of a social media presence on stage (sometimes behind, surrounding them on pillars, I’ve seen many different ways.) Here director Bre Welch incorporates that social media but makes the projections appear to be on triangles- as if it is on shattered glass. This is a brilliant way of adding context to the cracked world of the story and these inspirational moments are based on lies and half-truths. It helps us as an audience to deal with the problematic nature of the story in a way I’ve never seen before, which is a again a brilliant choice (projection/video design Alex Young is so talented!) I also love the lighting work by Jordan Fowler with bright colors framing the shattered glass or the stage to help add dramatic impact to what is happening on stage. It adds so much to the story, which again isn’t the strongest by itself.

This cast is wonderful with Josh Call playing Evan and Anna Kocherhans as Zoe. I appreciate both of them felt like teenagers. Sometimes when seeing this show it feels like we are watching 30 year-olds pretend to be teenagers but these two felt like believable teens. I also really liked Ryan Munsey’s take on Connor. He’s usually played as a big athletic bully type but Munsey has more of an emo rebellious read on the character which is interesting. This version of Connor feels more similar to Evan which is good because we need it to believable that people would think they could have been great friends.

Some of my favorite moments of this production are songs like “You Will Be Found,” “Words Fail” and “Requiem” which on the surface are inspirational ballads but because of the shattered glass dynamic it adds a layer to the soaring melodies. “Waiving Through a Window” is a terrific start of the show but again because I was so immersed in the production design it quickly was eclipsed by the other numbers, which is saying something because I love that song.

My only real critique is these songs are deceptively difficult and the young performers should work on supporting their notes as much as possible. There are times when I felt they could have pushed through the ending of sentences a little more and thereby really driving home the hopeful message. Otherwise I loved this production of Dear Evan Hansen. It truly elevates the material in special ways and especially if you have teens it is a cracking night of theatre. It is playing at Centerpoint through October 15th and tickets can be purchased here.

Dear Evan Hansen has music and lyrics by Benj Pasek and Justin Paul with a book by Steven Levenson. It first premiered on Broadway in 2016 and it won 6 Tony Awards including Best Musical.

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.

Curtains brings the mystery and fun to Heritage (Review)

| Rachel's Reviews

Everyone knows I love a genre specific musical. For example, some of my favorite recent musicals have been in the horror genre such as Evil Dead: The Musical and Heathers. I also love comedies, mysteries and of course romances. However, I also enjoy musicals that can manage to be mashups of several genres. This keeps me guessing as an audience member and can be a lot of fun to watch. Such is the case with the musical Curtains, which I finally got a chance to see at Heritage Theater this weekend. I love Heritage, and this is another charming night of community theater from them.

The story of Curtains is ostensibly a murder mystery but it becomes more than that because all the crime and detective work occurs behind the scenes of a Broadway musical being put on in Boston. The musical in question is called Robbin’ Hood of the Old West and this gives an old fashioned quality to any of the songs that are part of the show within a show such as “Wide Open Spaces,” “Thataway,” and “In the Same Boat” (the latter which we hear 4 different times throughout the show.) Then we have the songs about the crimes and investigation like “He Did It,” and “The Man is Dead.” Finally we have the songs about the company members themselves such as “Show People” and “It’s a Business.” One of my favorites is “I Miss the Music” sung by the show composer Aaron who misses writing with his wife Georgia.

As you can see Curtains has a lot going on so director Lindy Combe wisely keeps the production as simple as possible. I love that Heritage still uses all handmade where so many companies their size are using projections and AI. I also like that they use the entire space into the audience to help tell the story. I could have used even more of that to be honest. My favorite setpiece (set designer Jess Tarbet) was probably the old west saloon backdrop for “Thataway.” This uniquely captures not just a saloon but a saloon in a Broadway musical like Annie Get Your Gun.

In some ways this musical is ideal for community theaters because it gives so much for both the ensemble and individual soloists to do. The cast at Heritage is led by Spot Beecher as Lt Frank Cioffi and he’s a lot of fun in the role. Other standouts are Ali Arbuckle as Carmen Bernstein and R Henry Bennett IV as the snooty British director Christopher Belling. The nice thing about a show like Curtains is most of the songs are within the grasp of an amateur company and they sing them well here.

I’m not sure what the folks at Heritage could have done because the transitions were pretty fast but the show did feel long. That said, I was also at the end of a 2 day, 5 show, marathon event with my friend Jacks in town, so fatigue in Act 2 may be more on me than them. There are times when the backtrack felt a little loud and overpowered the singers and like I said, they could have come out into the audience even more. In the end, however, I found Curtains to be a charming night of community theater. I’m grateful to Heritage for helping me check this show off of my bucket list. It is playing through September 12th and tickets can be purchased here.

Curtains is a musical with music by John Kander (who also wrote Chicago and Cabaret) and lyrics by Kander, Fred Ebb and Rupert Holmes. Holmes wrote the book based on the original book and concept by playwright Peter Stone. It first premiered on Broadway in 2007 and on the West End in 2019. David Hyde Pierce infamously won the Best Actor Tony for Curtains over Raul Esparza which I will never forgive the Tonys for…

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.

‘Come From Away’ lands with real heart at Stage Door (Review)

| Rachel's Reviews

I always like to allow for a diversity of opinion on any musical or play. I know I certainly have my share of unpopular opinions about a variety of shows as does any theatre fan or critic. That said, I must admit I would have a hard time understanding someone who doesn’t like or appreciate the musical Come From Away. It’s such a well crafted piece chronicling the best of humanity during one of our hardest times. I know I certainly love it and was delighted to get the chance to see it at the opening night of the new production at The Stage Door Theatre while on my St George trip.

This is also the first time I have been able to see Come From Away on the regional level. While I do not want this review to be a cataloging of what MTI approved let me share a few quick thoughts on the adaptation as a whole. There are 2 big changes from the Broadway version. First, they have approved a larger cast option. In this case, it is 18 actors but can be as many as 20 named roles where on Broadway it has 12 actors in the cast. In general, I’m a big fan of this change as the more people participating in community theatre the better. Also, it adds to the feeling of the chaos the folks in Gander might have felt with a more crowded stage.

The other big adaptation is they have allowed all the parts to be played by non-Black actors. This mostly impacts Bob, Kevin J and Hannah and the ‘others’ roles they play. At Stage Door they did have a person of color as Bob (Maika Naivalu) but there is an adaptation for every role companies can do on the MTI website that has been approved by the Come From Away writers. While I understand this “allow(s) for greater casting flexibility” it does also take away a layer of meaning from the conflict the characters are experiencing; thereby, robbing it of some of its power. It’s also a show based on real Gander residents and passengers so swapping out race feels a little weird but that is what they have approved so let’s move on to talking about the actual production.

My favorite part of what director Kelly Thomas has accomplished at Stage Door is the wonderful cast of actors and the chemistry they all have together on stage. This is vital to the story working because each actor plays so many parts that a natural repertoire needs to exist between the talent. With such a warm environment any flubs or imperfections by the cast actually adds to the sense of community in the story instead of detracting. I also like that they had these roles differentiated with hats and jackets that makes it easy to keep track of which character is talking when.

If you are new to Come From Away it tells the story of when on September 11th, 2001 a group of 38 commercial flights were redirected to emergency land in Gander, Newfoundland in Canada. The residents were then asked to feed, house and help 7000 passengers get through this experience until the airplanes could be approved for flight again. As is so often the case, it is in the times of crisis that the best of humanity comes out in the people of Gander and the passengers which makes this such a wonderful musical to watch.

All the actors are lovely in their roles at Stage Door but my favorites are Dean Jones as the mayor Claude (he probably had the best accent of the group), Makayla Klumpp as Beulah, and Diane and Nick/Doug played by couple in real life Rachael and Richard Rose. I always love their relationship in the story because it shows how something beautiful can come out of a dark time and having a real life couple only adds to their chemistry together. Mattea Denney is a younger-looking Bonnie than I have typically seen, but I really enjoy the bubbly energy she brings to the character. She’s not just the pestering animal lady here but sweet and concerned mother worried about all the life on the planes.

The set by Joshua Scott is also great with a backdrop that captures the warm feeling of what the Gander airport might have looked like in 2001 without feeling too commercial or corporate. I also really like how the large cast was used to make normally solo songs more of a group experience. This is particularly true with “Me and the Sky” where Mikalene Ipson’s Beverley is joined by the other women in the cast all wearing the American Airlines scarves (costumes designed by Tonya Christensen and Tawny Betts.)

There are times when the live music is missed particularly with the rapidity of the quippy banter and songs, but I realize that is not a possibility for a small community production. They just need to keep working on being in sync with the backtrack recording and not talking or singing over each other. I would also be careful, particularly with Ali, that accents and other characteristics don’t verge into caricature, which for the most part they don’t but it’s something to keep working on.

While Come From Away does have some mature language I’d still recommend it at Stage Door as a family experience. It’s a story with big heart and great songs all put on with skill and acumen by the talented cast and crew. Even though it is set in Canada I actually think it would be a great show to celebrate the US 250th birthday. After all, it even has a speech from the US President at the time and a moment of silence for the 9/11 victims. Tickets are affordable and available here. It is playing through July 11th.

Come From Away has music, lyrics and book by Irene Sankoff and David Hein. It first premiered on Broadway in 2017 and it lasted 1669 performances and 25 previews.

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

Utah Theatre Log 3/19-4/12/26 (Finding Neverland, Bright Star, Hallmarked, Father of the Bride) (Rachel’s Theatre Log 261)

| Rachel's Reviews

Hi theater friends! I hope you are doing well and enjoying lots of local theatre wherever you might be. Over the last month I’ve reviewed a lot of theatre and been to a number of shows as a patron. For those shows I post a log with a few brief thoughts of my experience. So here goes:

Bright Star- On Pitch Performing Arts, Layton

The OPPA organization in Layton is what I refer to as a learning company. This means it is a place for people to try their hand at community theatre without the pressure of many of the other companies in Utah, which often have professional quality standards (most of the performers having BFAs in musical theatre or similar credentials.) I appreciate there are places like OPPA that are true homes for amateurs to fall in love with theatre.

Recently I saw their production of Bright Star and it was far from perfect, but I still enjoyed it. As you all know I love this show, but I actually hadn’t seen it since last August so I was happy to be back in this world. I saw the MF cast and the highlight was Silas Hagelberg as Billy. I also thought director Claire Phillips used the ensemble well creating as much movement and dance as possible on the small stage. Bright Star is playing through April 25th and tickets can be purchased here.

Hallmarked- Hale Center Theatre, Sandy

I was able to see Hallmarked again at Hale Center Theatre to get ready for my interview with the creators Michael D Fox and Cameron, Dawn and Quinn Dietlein. I’ve reviewed it 2 other times on this site so I’ll just link to those reviews. It’s delightful and playing through June 5th. Tickets can be purchased here.

Finding Neverland- Centerpoint Legacy Theater, Centerville

I first saw Finding Neverland at Hale Center Theatre last year and enjoyed it much more than I was expecting. As a result, I was looking forward to seeing it at Centerpoint this year, and I liked it maybe even more so than the Hale production. This is definitely an underrated little musical with heart and some beautiful music.

The most impressive aspect of the Centerpoint production was the use of projections to create the imaginative world of JM Barrie. I am normally not a projection girl because it is often a substitute for artistic vision- most of the time using AI, and I much prefer real hand made sets. In the case of this Finding Neverland, however, it’s lighting and painted backdrops projected to expand the stage and make a visual statement. I was so taken with it I am seeing the show again this week with the other cast (it’s been a few weeks since I saw this production so I will write about it again this week.)

The cast I saw (MWF) is all excellent with Ben Lowell putting in great work as JM Barrie and Sylvia Davies. The only thing I wasn’t a fan of is they have Barrie and Davies actually kiss in the “What You Mean to Me” sequence when he is still technically married. This doesn’t feel true to the characters nor their journeys (Sylvia would never want to be seen as a homewrecker.) Other than that I loved it. “When Your Feet Don’t Touch the Ground” and “We’re All Made of Stars” are other highlights.

Centerpoint is one of the most outstanding community theaters in the country in my opinion and Finding Neverland is no exception. It is playing through April 23rd and tickets can be purchased here.

Father of the Bride- Parker Theater, Salt Lake

I’m a big fan of every film version of Father of the Bride including the much maligned recent 2022 version with Andy Garcia and Gloria Estefan. I talk about that one here with my friend Marisa. Before that film we ranked all 4 franchise films on my podcast.

Anyway, when I heard Parker Theater was putting on the Father of the Bride play I got excited assuming I’d love it as much as the films. Well, it might have been a victim of high expectations because I left feeling a little disappointed. They are all very talented at the Parker so I can’t really fault them in their execution. I just found this play to be rather dry and not nearly as funny as I hoped- particularly the first act.

This production is directed by David Weekes, and he has created a beautiful 1950s home for the Banks home with little details like the hallways and outside being decorated despite not being the main focus of very much action. The attention to detail at the Parker is always great. It was just a little dry for me particularly Act 1 but that’s simply my experience. You might have more laughs from it. I did love that they have wedding cake you can get at concessions- I love how they have on theme snacks at all of their shows. Michael Hohl is good as Mr Banks and Emma Widfelt and Brock Harris have nice chemistry as our engaged couple planning their wedding.

A lot of it comes down to personal humor taste so your mileage may vary. It is playing at the Parker until May 2nd and tickets can be purchased here.

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

Bright Star has music by Edie Brickell and Steve Martin with a book by Martin and lyrics by Brickell. It first premiered on Broadway in 2016. Hallmarked is written and composed by Michael Fox with Cameron, Dawn and Quinn Dietlein. This is the world premiere and Sally Dietlein is the producer with Alex Marshall and Quinn as the music directors. Finding Neverland features music by Scott Frankel, Gary Barlow, Eliot Kennedy with lyrics by Michael Korie, Barlow and Kennedy and a book by Knee and Graham. Father of the Bride is written by Caroline Francke based on the novel by Edward Streeter. It was made into a film in 1950, 1991, and 2022 with the first 2 getting sequels.

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.

Hadestown is a great show. The National Tour is not (Review)

| Rachel's Reviews

It might seem like an odd comparison but I feel the same way about the national tour of Hadestown that is currently at the Eccles downtown as I did about Les Miserables national tour last year. Both have very strong material (obviously) that is executed in the most meh way possible. If you see Hadestown you’ll probably have a good time because the music, lyrics and book are great but not from the bland uninspired choices of this production. You can honestly find better executed stagings at the myriads of high schools doing the Hadestown Teen Edition all over the state of Utah.

The biggest problem with the production is one of scope. Everything feels small and simple. This is a show that relies a lot on spectacle. The lights alone on the Broadway show are stunning and bold and that’s not the case here. I know there are only 5 workers on Broadway but the more intimate staging there makes it still feel grand where at the large Eccles theater the afterlife looked rather sparse. Also the director Keenan Tyler Oliphant slows down certain segments like “Why We Build the Wall” so that my mind began to wander about the smallness of the cast.

The musicians are on the stage in the tradition of Hadestown, but they don’t blend as well as I would like. The brass really sticks out in sections as did the violins which I’ve never noticed in this show before. They really go for a Mardi Gras New Orleans feel which I get but seems a little celebratory in tone for the events of Hadestown. It is also strange the way they have Persephone open act 2 with “Our Lady of the Underground” like she is a lounge singer at a club. I know she’s supposed to be boozy but it is handled like a cabaret performance not a key moment in the story.

My favorite acting of the night is Nickolaus Colón as Hades. He makes those low notes feel effortless, and I love his slick soulful interpretation of “Hey Little Songbird.” Even though the Fates do not harmonize as well as I’d like I still loved the “Epic” songs especially “Epic III” which is peak musical theatre if you ask me.

I also can’t help but gasp when Orpheus (Jose Contreras) turns around at the end but the way they have it staged is so odd with lights and fog that made it impossible to see Eurydice (Hawa Kamara) behind him. It is like it all of the sudden became a rock concert with strobe lights instead of a journey to the afterlife. It reminded me of the ending of Beetlejuice: The Musical and that’s not at all what I want out of Hadestown.

It might seem like I am being too tough on this production. It is after all still Hadestown and most people who go see it will still enjoy it. However, the tickets are expensive and if I have had better experiences at the local high schools than that’s a problem. I’m sure I will be in the minority because the material is still very strong but when I see a professional production (even non-equity) I expect better than high schools. I even thought some of the costume choices particularly for Persephone were odd. Unfortunately, I’d recommend saving your money on this one and supporting a local high school production instead. Hopebox is putting it on next month and I bet it will be incredible and for a good cause. The Hadestown national tour is playing at the Eccles through 3/29 and tickets can be purchased here.

Hadestown has music, lyrics and a book by Anaïs Mitchell based on the greek myth Orpheus and Eurydice. It first premiered on Broadway in 2019 and it is still currently playing. I saw it in 2021.

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.

Utah Theatre Log 7/20-8/8/25 (Daddy Long Legs, Footloose Jr, Freaky Friday, Catch Me if You Can) (Rachel’s Theatre Log 172)

| Rachel's Reviews

Hi theatre friends! I hope you are all doing well. I am currently in Cedar City attending the Utah Shakespeare Festival. I will certainly have more logs of that experience (it’s amazing) but I wanted to share a few quick thoughts on a couple other productions I’ve seen lately as a patron not a critic.

Footloose Jr- Timpanogos Youth Theatre, American Fork

A couple of weeks ago I went and saw Footloose Jr at Timpanogos Youth Theatre. My cousin’s daughter was in it and it was fun to support her. I also found it interesting as I had just seen the full version twice in July to see what they would do with the Jr version. I’d say it does a pretty good job of focusing it and making it teen appropriate (mostly toning down the romance.) It is a great show for teens to do because it is about teenage characters and one that they will likely connect with in their own struggles with their parents and deciding what they want to be in life.

I don’t have my program for this production so I can’t give my normal shoutouts. I will try and add those when I get home. Terrific job by the teens and I hope they enjoyed the experience. To find out more about Timpanogos Youth Theatre click here.

Catch Me if You Can- Centerpoint Legacy Theatre, Centerville

Next I was able to see the MWF cast of Catch Me if You Can at Centerpoint Legacy. This was a comped ticket which is very kind of them. I said most of the details about the production in my first log (see here) so I won’t repeat all that again but this is such a fun show. I love the incredible set design and the bubbly choreography. The costumes are first rate and it’s just a really entertaining musical.

As far as this cast it’s interesting because I think they felt a little less perfect for the roles than the other cast particularly Carl and Frank (maybe I was just biased to the one I saw first) but I do think this cast is slightly better singers than the TThS cast but they are both great. Emily Richman especially crushed it as Brenda. I love this production and highly recommend checking it out and it is running through August 19th. Tickets can be purchased here.

Freaky Friday- Bluffdale Arts, Bluffdale

It was too perfect a combination to see the musical Freaky Friday the day before the new movie Freakier Friday was released. While I don’t think this musical is perfect it really tries to say something and is an ambitious show for teens, which I appreciate. I recently got to see a production by Bluffdale Arts and it was a lot of fun.

Of course, this musical tells the story of a mother and daughter who switch places as one does in Freaky Friday stories. At Bluffdale we had Mindy Eckroth as the Mom Katherine and Grace Woodhouse as the daughter Ellie. They are excellent together and are believable as a pair. The rest of the cast is huge with a large ensemble that were all able to execute any choreography given them.

The sets are simple but do the job as are all the other aspects. My only hesitancy about this play is a couple of the swings it takes don’t land for me. In particular “Parents Lie” and “Biology.” I get what the writers were trying to do with those songs but the former feels to mean for Ellie to do that to her little brother and the latter is very odd for a grown woman to be singing about young men.

Still, they did a good job at Bluffdale with the tricky material and I enjoyed getting a chance to see it before the new movie. (I will add more of the credits when I get home.) Freaky Friday has finished its run but you can find out more about Bluffdale Arts here.

Daddy Long Legs- Centerpoint Legacy, Centerville

If you’ve followed my content for any amount of time you know I’m a huge fan of the musical Daddy Long Legs. I like it so much I even interviewed the composer Paul Gordon:

Daddy Long Legs is a simple show with only 2 people and no scene changes. Fortunately Sydney McAlister and Ben Lowell are both excellent as Jerusha and Jervis and they have terrific chemistry together. I am very curious to see the TThS cast as well as they look like they bring their own charm to the roles.

This production is directed by Liz Christensen and she makes some interesting choices within the parameters of this very simple show. One little thing I noticed is she had Jervis’s back to the audience for most of the first act. In fact, his desk chair was facing back and then at intermission they moved it to the other side of the desk so he was facing forward. This helps us to really feel the growth of the character.

I also appreciated McAlister’s feisty performance. One critique I’ve heard of the musical is that Jervis is too controlling but I felt in this production Jerusha was quick with a response or defense of herself and her independence. It is interesting that they didn’t have Jervis pinning the letters to his office as I have usually seen. Maybe they felt that was too obsessive compulsive but it does make the big reveal at the end a little more subdued in tone.

The only thing I thought was a miss was the strange backgrounds they had on screens which looked like oil painting in greens and purples. Jerusha isn’t a painter but a writer so pages from a book or other literary inspiration would have made more sense. But I loved this production and can’t wait to see it again. Highly recommend. It runs through Dec 2nd and tickets can be purchased here.

Footloose has music by Tom Snow, lyrics by Dean Pitchford with book by Pitchford and Walter Bobbie based on the film Footloose. Catch Me if You Can has music by Marc Shaiman with lyrics by Shaiman and Scott Whitman with a book by Terrence McNally based on the books by Jeff Nathanson and Frank Abagnale Jr and Stan Redding and the film. Freaky Friday: The Musical has music by Tom Kitt and lyrics by Bryan Yorkey and a book by Bridget Carpenter based on the books by Mary Rodgers, Stu Krieger, Heather Hach and Leslie Dixon. Daddy Long Legs has music and lyrics by Paul Gordon with a book by John Caird based on the novel by Jean Webster.

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 7/1/25-7/20/25 (Mean Girls Jr, Catch Me if You Can) (Rachel’s Theatre Log 166)

| Rachel's Reviews

Hi friends! I hope you are doing well and enjoying local theatre wherever you might be. July has certainly proven to be a busy month for me as both a film and theatre critic. No rest for the weary here (I figure if my main problem is seeing too many movies and plays I’m doing things right in life 🙂 ). Anyway we’ve had some really fun episodes of OnStage Blog Podcast including Ranking the 11 Most Produced High School Musicals. We had my friend Tanner Tate on who is the music director for Mean Girls Jr that I am going to talk about in this very post!

If you are new to my site I have 2 forms of reactions to theatre. One is a traditional detailed review that I provide for companies that request it of me. These are comped tickets and I usually try and post them within a couple of days of my seeing the show. Then there are what I call logs like this post where I am attending as a patron and they are just a few quick thoughts of the production but not the detailed review I would give as an actual theatre critic. I’m very gratified that more companies are requesting me to do full reviews, which is a complete honor and privilege. So much that I may have to come up with a different system for the patron logs but I’ll cross that bridge when I come to it. Either way make sure you are following me on instagram because I post my out of theater reactions to both movies and theatre I see there.

Mean Girls Jr – Draper Historic Theatre, Draper

It was kind of perfect the week I had a podcast on teen musicals I would see a wonderful teen musical. I always especially like teen productions where they get to play teenage characters. It just adds to the authenticity and it seems like the teens have more fun with it. This was my first time seeing Mean Girls Jr but these teens did an incredible job with it (my thoughts on the national tour of Mean Girls here.) In fact I am just amazed that they have enough teens to double cast over 30 roles and for them all to be so outstanding! Sometimes I think there’s something in the water here in Utah because the high school theatre is so excellent.

I was able to attend the Grool cast and was particularly impressed with Lily Henstrom as Cady Heron in our lead. She has the appropriate awkwardness mixed with sarcasm that works for the role. I also really liked Elle Stotts and Paige Hillstead as Karen Smith and Gretchen Wieners respectively. Stotts in particular has a wonderful comedic timing as the ditzy Karen that repeatedly made me laugh.

This production is directed by Laura Lewis and the real feat is how her and choreographer Ariel Grace Tegan involves so many youth on that small DHT stage. They use a lot of projections at DHT but they do a good job with them and it doesn’t feel like a substitution for creativity from the teens. All the other technical aspects are well done and the afternoon matinee I went to went off without any major problems. Mean Girls Jr is playing through July 26th but many showings are sold out. Get your tickets while you still can here.

Catch Me if You Can- Centerpoint Legacy Theatre, Centerville

Next up we have one of my favorite companies Centerpoint Legacy with their production of the underrated Catch Me if You Can. I love this show and to be honest I’m not even that big a fan of the feature film. It’s mid-tier Spielberg if you ask me. This musical takes all the good of the movie and adds to it with catchy tunes, great spaces for choreography and a wonderful friendship story that warms the heart. It’s fantastic and they do an excellent job with it at Centerpoint.

I saw the TThS cast and they are all top-tier community theater performers. Derek Marsden and Colton Ward command the stage as Frank Abagnale Jr and Carl Hanratty respectively with the rest of the cast living up to their example. I especially loved all of the group choreography musical numbers like “Doctor’s Orders” and “Jet Set” (choreography by Jessica Merrill.) I also loved the 1960s style to the set and the combination of video projections from the time and real handmade sets (scenic and projection designer Joshua Roberts.) The costumes for the very large cast are outstanding as is always the case at Centerpoint from costume designer Tammis Robbins Boam. I defy anyone to find better costumes at any community theatre in the country. Catch Me if You Can is directed by Jim Christian and it simply makes for a great night of theatre and nobody can beat Centerpoint’s low ticket prices. It’s a no-brainer. It plays through August 19th and tickets can be purchased here.

Mean Girls Jr has music by Jeff Richmond and lyrics by Nell Benjamin with a book by Tina Fey based on the film script by Fey and the book Queen Bees and Wannabes by Rosalind Wiseman. Catch Me if You Can has music by Marc Shaiman and lyrics by Marc Shaiman and Scott Wittman with a book by Terrence McNally based on the books Catch Me If You Can by Jeff Nathanson and Catch Me If You Can by Frank Abagnale Jr. and Stan Redding

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.

Go Under the Sea at Ideal’s ‘The Little Mermaid’ (Review)

| Rachel's Reviews

I love seeing new theatre companies grow and develop over the years and through various productions. I hope as a critic and influencer I can be a tool for these companies to get the word out and build loyal audiences. One of my favorite new companies is The Ideal Playhouse in Heber. The owners Steve and Karyn Anderson (director and music director respectively) are attempting to make a difference in their community renovating both the Ideal and The Avon theaters into special gathering places all of Heber can enjoy. Their latest production is Disney’s The Little Mermaid and it’s a fun experience or the whole family even if the adaptation by Disney isn’t my favorite.

If you want to hear more of my thoughts on The Little Mermaid in all its forms check out this episode of Talking Disney Classics Podcast I do with my friend Stanford:

Suffice it to say this adaptation doesn’t add much to the 1989 animated masterpiece. Still the stuff from the original film is good so there’s a lot to recommend in The Little Mermaid.

As far as Ideal’s production goes, they do all they can in a small space to help make it feel immersive and entertaining. I particularly like how they bring the bubbles and ocean into the audience with actual bubbles and projections all along the walls. Costume designer Kara Charlesworth does a great job making every piece feel special and eye-catching (especially Ursula’s dress who she is playing!)

I had Marissa Haines as my Ariel (the only part double cast with Lizzy Ricks) and she gives a polished but sweet performance that is excellent. Charlesworth has the swagger one needs for Ursula but the real scene stealing of the night is Caden Tomlinson as Chef Louis/Jetsam. He is hilarious as Louis and brought some much needed energy to a rather dry part of that musical.

The stage is small at Ideal so this limits them in some areas of the show. For example, they only have 3 daughters of Triton and the actors are not on the wheelies I have always seen in productions of The Little Mermaid. Also they should be careful that the actors aren’t poking out of the wings on the stage. Particularly Ursula and her dress could sometimes be seen when she’s supposed to be off stage.

My favorite part production-wise is during the final conflict Ursula appears in video on the screen and we see her get taken down in big bold fashion. That was a fun touch that makes the stage not feel so small. If you are looking for a nice way to introduce your family to musical theater The Little Mermaid at Ideal Playhouse is a great option. Especially your little girls will walk away singing like Ariel and wanting to be part of the grown up world as soon as possible! It is playing through July 26th and tickets can be purchased here. I give mixed to the musical but go and see it to the production.

The Little Mermaid has music by Alan Menken and lyrics by Howard Ashman and Glenn Slater with a book by Doug Wright based on the classic story by Hans Christian Andersen and the 1989 animated film

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.