review

OMG YOU GUYS! ‘LEGALLY BLONDE’ IS GREAT AT HERITAGE (REVIEW)

| Rachel's Reviews

One of the slightly unfair parts of theatre criticism is there are just some shows I like better than others. I still try and be as objective as possible when looking at any piece of theatre or film but I’m still human and have my preferences. One of my favorites is definitely Legally Blonde: The Musical. Over the years there have been so many movies turned into Broadway musicals and outside of Hairspray, Legally Blonde is the best. I absolutely adore it and the new production at Heritage Theatre in Perry does Elle and her story proud. Definitely take the time to see it if you are anywhere nearby.

If you didn’t know Legally Blonde tells the story of Elle Woods- the fashion merchandising student who ends up at Harvard Law School to try and win back her boyfriend after she is dumped by him. At Heritage I saw the Rufus cast (the casts are the same except for the 3 leads Elle, Emmett and Paulette) with Janelle Wiser playing Elle, Tyler O’Bagy as Emmett and Casie Littlefield as Paulette. All 3 are a ton of fun in their roles and Wiser and O’Bagy have a nice chemistry as our lead couple. Wiser brings the warmth and bubbly energy one needs for Elle and she makes her easy to root for.

This production is directed by Mike and Lindy Combe and they have done a great job getting the most out of each of their castmembers. It’s not perfect but a charming piece of community theater. I think what I like most about Legally Blonde as a musical is how positive and truly funny it is. It makes it completely rewatchable. If I can find the time to drive up to Perry (over an hour drive for me) I may even come back and see the other cast.

One of the most impressive aspects of Legally Blonde at Heritage is the hand-painted sets by Jess Tarbet. The last few times I’ve seen this show it has been primarily projection sets which is fine but I love hand-painted sets. Maybe it’s nostalgia talking but it just adds to the creativity of a production. They even have an RV background for the scene when they get Rufus from Dewey and that is only in the show for a few minutes. I thought they would at least do a projection for that scene but they didn’t.

The costumes are mostly great by Amber Beecher especially on the Greek chorus in their various color-coordinated looks. The only exception is Elle’s bunny outfit either didn’t fit Wiser right or the fabric is too slippery because it kept getting lower and lower to the point I was worried she might have a wardrobe malfunction. She didn’t but that’s something they could work on for the next show.

There are also times the sound-mix wasn’t quite right and the music overwhelmed the actors but again that’s something they can keep working on throughout the run of the show. Other than that Legally Blonde: the Musical at Heritage is a charming piece of community theatre. It does have some mature content (pg13ish) but if you are in the area I definitely recommend giving this pink underdog of a show a chance. It is playing through May 10th and tickets can be purchased here.

Legally Blonde: the Musical has music and lyrics by Laurence O’Keefe and Nell Benjamin with a book by Heather Hach. Based on the novel by Amanda Brown and the MGM film (2001.)

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.

‘A CHORUS LINE’ AT WVA IS ONE SHOW NOT TO BE MISSED DESPITE A CHALLENGING STAGE (REVIEW)

| Rachel's Reviews

It’s funny. I would never call A Chorus Line underrated as it is a classic of musical theatre, but I do feel like it isn’t mentioned as much as it should be in discussions of the greatest shows of all time. It’s certainly one of my favorites. I love how honest and authentic it feels. Written in 1975 based on interviews done of Broadway chorus members it feels like something that could be released new now and not feel outdated one bit. West Valley Arts is putting on this landmark show and while their theater-in-the-round does cause some challenges it is still well worth your time.

If you are unfamiliar with A Chorus Line it takes a group of dancers auditioning for a chorus role in a Broadway show and tells their individual stories (again based on real interviews.) There isn’t a traditional plot like we usually have in musicals but is more of a what we call in the film world ‘slice of life’ narrative. We as the audience are a fly on the wall watching these people audition and learning about their life.

It is this voyeuristic aspect of this show that make many of co-director/choreographers Izzy Arrieta and Ben Roeling’s choices so brilliant. I particularly loved having director in the show Zach (Joseph Spear) mostly a voice from above calling out orders to our dancers. In many ways Zach is us and speaks for the audience making when he does step on to the stage extra impactful.

Another effective directorial moment is the opening number “I Hope I Get It” we are introduced to each character with the actors holding up their headshots to Zach’s voice from above but again it made it feel like they were each auditioning for us and we were going to be the ones judging them worthy or not.

The casting for this production of A Chorus Line is across the board outstanding. I would challenge any non-equity theater across the nation to produce such an incredibly talented group of dancers, actors and singers. It’s hard to pick a favorite because they are all impressive but Angel Martinez as Paul (I honestly believe Paul’s Act 2 monologue to be one of the most stirring monologues in musical theatre history and he performs it with heart and soul), Heather White as the jaded Sheila, and Annie Jones as the tone-deaf but very funny Kristine are the standouts.

It being an audition environment the sets and costuming are simple so it’s the performances and the choreography by Arrieta and Roeling that give the production its flavor. I love how each performer has unique choreography while all still working together to make the iconic kicklines of the show. Again, we are put in the position of Zach and can see who he should and should not pick.

The problem with WVA is that the theater-in-the-round setup is a challenging space for A Chorus Line. I wish the directors had used the aisles and the platforms around the stage for some of the solos to stretch things out into the audience. It is a reality of this stage that some of the time the performers will be facing away from us as an audience. This is a major barrier for A Chorus Line because we can’t see what the dancers are doing. We can’t look into their faces and see their expressions. I wish I could lift this cast and choreography onto a traditional stage so I could see what was happening at all times. There are times when theater-in-the-round is an advantage making the audience surrounded by the experience but for A Chorus Line where there so often is a literal line of actors it’s problematic.

That said, I don’t think this downside is enough to throw off the many positives in A Chorus Line at WVA. It’s a stirring look into the lives of performers and just people with their hopes and dreams. Plus, there are some terrific tunes and dance sequences well performed. A Chorus Line is playing at WVA through May 3rd and tickets can be purchased here. Don’t be the one to miss out!

A Chorus Line features music by Marvin Hamlisch, lyrics by Edward Kieban and a book by James Kirkwood Jr and Nicholas Dante.

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.

‘STEEL MAGNOLIAS’ IS TRUE GIRL POWER AT MILLCREEK COMMUNITY (REVIEW)

| Rachel's Reviews

One of the best parts about community theatre is the element of surprise. When I go to see a Broadway show I expect the talent to be top-tier and the production to be incredible but with community theatre, especially a company I haven’t seen before, I never really know what I’m going to get. For example, on Saturday I was invited to see a small production of Steel Magnolias put on by Millcreek Community Theatre and it was a wonderful experience I won’t soon forget.

Believe it or not I actually had never seen Steel Magnolias. It is performed fairly regularly I just for whatever reason had never seen it. This production kind of reminded me of when I saw Enchanted April at Sugar Factory Playhouse last year. Both are women-centric plays with minimal sets that make them ideal for a community theatre to put on (both productions were also in city hall buildings!) Steel Magnolias is a play written by Robert Harling about the women in his town and how they rallied together after the death of his sister from diabetes. It of course was turned into the popular feature film with Dolly Parton and Julia Roberts in 1989.

With a play like this it really comes down to the casting and can the group of women create believable chemistry together on stage. Fortunately the cast at Millcreek achieve these criteria in spades. I can’t overstate how impressed I was with every performance and how easy it was to get emotionally invested in their friendships. Alexandrea Tara-Brett leads things off in the Parton-like role of Truvy in a performance Dolly would be proud of. Brittney Smith and Libby Mitchell make a believable mother/daughter combo playing Shelby and M’Lynn respectively and M’Lisa Bailey-Hansen is hilarious as crotchety Ousier. They are all also very good with their accents creating believable Southern characters.

This production of Steel Magnolias took place in an office room at Millcreek City Hall. The seats are just office chairs and the stage is an elevated platform where they create Truvy’s in-home beauty salon the women flock to for gossip and haircare. Nothing is fancy but I was impressed they got the sink to work for the hair shampooing. I’m not sure how they did that but it looked like M’Lynn got her hair wet in the sink.

As far as critique I might try to find a different gunshot sound effect. The one they used sounded like a light saber more than a gunshot. Other than that this was a wonderful afternoon of community theatre, and I’m so glad I got to take part in it.

This production of Steel Magnolias is directed by Traci Nelson and creative director Jim Nelson with stage manager Jax Jessup. All of these individuals have my attention. I will be curious what they do next because they accomplished so much with so little to work with here. The only sad part is (aside from what happens to poor Shelby) is the play only ran this weekend so only a handful of people got to experience it. (That’s always the sad part of live theatre. It’s so ephemeral unlike film that is archived for generations to watch.) Evidently next up for Millcreek is A Midsummer’s Night Dream which should be a ton of fun. Find out more on their facebook page.

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.

‘DOGFIGHT’ IS A GOOD LOOKIN START TO SENTINEL THEATRE (REVIEW)

| Rachel's Reviews

It’s always an exciting event when a new theatre company enters the Utah theatre scene and it is even more exciting when they do so with a bold ambitious choice that I’ve never seen before. Such is the case with the debut production of Dogfight from Sentinel Theatre at the Valentine Theater in American Fork. The mature content of this show won’t be for everyone but if up for the challenging material the audience will be richly rewarded. What a triumphant start to a new company, and I can’t wait to see what they do next (which is Bright Star so of course I’m thrilled about that!)

I first heard about Dogfight from a friend of mine on my podcast and especially it being the first music of now EGOT winners Benji Pasek and Justin Paul I was intrigued (book by Peter Duchan.) It tells the story of 3 soldiers in 1963 that are heading to the Vietnam War with a stop-over in San Francisco after basic training. The trio decides to enter a ‘dogfight’ competition where they all try to bring the ugliest girl they can find to a party to be judged. This pushes Eddie Birdlace into the company of a girl named Rose who may not appreciate the cruel joke the soldiers are playing.

If that plot feels too dark and cynical it may not be your cup of tea but we are dealing with foolish young people and the harsh realities of war so dark and cynical is not inappropriate. There are enough moments of humanity within the material to give hope and keep me engaged throughout.

The cast at Sentinel are all outstanding with Adam Moore as Birdlace and Sam Bennett and Nathan Bowser as Bernstein and Boland. They have a believable chemistry and they are all complex characters that do a mixture of good and bad things (like most humans even without the threat of war looming over us.) Moore is a very gifted singer but he also is endearing enough for us to not completely hate him for what he is doing to Rose (she also slaps him in the face which is more than deserved.)

Rose is played by Alison Gordon and she is wonderful at playing shy and awkward teenager. I like that she is insecure but never a complete pushover. River Robinson is also terrific as Marcy and I particularly enjoyed a duet she does with Rose called “Dogfight.” She is very funny in the role but also captures the deeper cynicism needed to teach the boys a lesson.

The whole team at Sentinel deserves praise for the thrilling production. Director Andrew Jefferies has left no detail unattended. I love how the actors are constantly moving with the entire large stage being used. Caleb Wallengren does mesmerizing work with the lighting and sound design creating everything from a simple diner, to a party, to a war with explosions and gunfire. The costumes by Kristin Christensen are period accurate from everything I know (I’m not a military expert but they appeared correct.) Liz Whittaker continues her incredible work across this valley as the intimacy coordinator (I found it very impressive thanks to Moore and Gordon that the intimacy scenes worked as well as they did when things are so cruel at the party.)

As far as critique my main feedback would be for the leads to try and enunciate a little bit better. I know it’s hard when doing accents but there were times when I had a hard time understanding the dialogue and was a little confused. I didn’t even realize what the dogfight actually was until the dance contest started. I think I missed something in the earlier dialogue that should have given me a clue.

Like I said, I know Dogfight will not be for everyone but I hope enough people take a chance on something bold and new to encourage Sentinel to keep going and producing more theatre. As theatre patrons it’s exactly the kind of ambitious work we should be promoting and supporting and I hope all my readers see it. It is playing through April 12th and 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 like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.

‘LIFE OF PI’ INCREDIBLE PUPPETRY AND VISUALS MAKE IT A HIGHLIGHT OF THE ECCLES SEASON (REVIEW)

| Rachel's Reviews

Typically I am not a style over substance girl when it comes to live theatre (or film for that matter.) If the story doesn’t impress me usually it doesn’t matter how visually impressive a production is. I say usually because there is an exception to every rule. Such is the case with the national tour of Life of Pi playing at Eccles until April 6th. The story is fine and has its thoughtful moments but the visuals including the puppetry are unforgettable.

At its core Life of Pi is a simple survival story. An Indian young man named Pi gets shipwrecked as his family is fleeing India with their zoo animals. Eventually he ends up (in one variation at least) on a boat with a bengal tiger named Richard Parker. This is based on the book by Yann Martel and was adapted to the stage by Lolita Chakrabarti. Readers may also be familiar with the Oscar winning film by director Ang Lee released in 2012. Chakrabarti tries to bring a lot of spirituality and existentialism into the script but a lot of that felt cloying and clunky where it was trying to be sincere.

The aspects of the script that worked better for me were the alternate realities and when things become practically a horror show with events getting very dark for poor Pi. These sections felt more fresh than the bland new age spirituality of the supposedly profound moments.

Anything lacking in the script is more than made up for in the mesmerizing visuals. It’s hard to throw something at me I’ve never seen (especially in a play!) but these animal puppets are jaw dropping. The puppeteers are unbelievable. They create the feeling of a real animal everything from the movements of the muscles to the sound of the animals breathing. They even have a giraffe for a small scene at the beginning that took my breath away.

Taha Mandviwala is also outstanding as Pi. He understands the physicality of the role and is up for the emotional range required to go through a 227 day marooned at sea struggle. The other elements brought together by director Max Webster are outstanding and one can hardly help but get caught up in the drama of what is happening. I loved the lighting by Tim Deiling and Tim Lutkin and the way projections were carefully used to further the story and make nature a real character in the piece beyond just the animals. There are some strobe lights used to create lightning and other effects that might be hard for some people but they totally helped me get engrossed in what was happening with poor Pi on this boat!

I almost didn’t need the callouts to God and religion with this story. Sheer survival and the test of the human spirit is enough to think about and ponder. How far would you go if tested and desperate? What kind of person do you want to be and what is the difference between human and animal natures. That’s enough without bringing in 3 faiths for Pi to juggle.

In the end, however, squabbles with the script didn’t keep me from having a great time at Life of Pi and giving it a strong recommendation. It’s a stunning work of theatrical art that one has to see to believe. It is playing through April 6th and 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.

‘BRIGHT STAR’ AT DRAPER HISTORIC DOES RIGHT BY THIS FAN (REVIEW)

| Rachel's Reviews

It’s no big surprise to my readers that I am a huge fan of the musical Bright Star. I think after 2 recent viewings at Draper Historic Theatre I have seen it 15 times. That said, just because I love a piece doesn’t mean I’ll give a company a complete pass when I go to review a production. In fact, when I heard Draper Historic Theatre was putting the show on I was especially excited because they selected Mindi Eckroth to direct and I had previously seen her production at the Empress where just about everything that could go wrong went wrong. I was happy she could get some redemption and she did.

There are a lot of reasons I love Bright Star (with music by Steve Martin and Edie Brickell, lyrics by Brickell and book by Martin) but mostly it is completely entertaining while still having huge heart and soul. I absolutely love the music and it’s the all-around emotional experience- it will make you cry, laugh, smile, and want to sing along. It’s a perfectly calibrated musical when it comes to the emotions it drags out of the audience.

I saw both casts at DHT and while I enjoyed both the MThS cast has the slight edge. Alexa Thompson as Alice and Isaac Carrillo as Jimmy have terrific chemistry and Josiah Johnson has a youthful look about him that fits the character of Billy very well.

As good as the actors are it’s the transformation of the DHT stage that surprised me bringing down the 2 side columns of the stage creating a good 2 feet on each side that could be filled with a 2-story platform for the bluegrass band, which was another highlight (Marie Buhler band conductor.)

The choreography by Sam Stowell is another standout with ensemble members frequently pulling off lifts and other elaborate skills I couldn’t hope to achieve. Plus, to have so many actors dancing on such a small stage is an accomplishment.

If by some miracle you haven’t seen Bright Star yet I highly recommend heading out to Draper Historic Theatre to check out this wonderful musical well told by a fantastic community theatre group. I brought my friend Stanford who’d never seen it before and he loved it (how could you not?) It’s one of the great American musicals and a wonderful version of it to watch and enjoy. It never gets old! Bright Star is playing through April 19th and 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. For the record I paid for one of these tickets and received one as a comp.

‘A CASE FOR THE EXISTENCE OF GOD’ IS ACTUALLY A CASE FOR FRIENDSHIP AT PTC (REVIEW)

| Rachel's Reviews

As someone who struggles with titles to draw people to my reviews and other content I recognize the temptation of a catchy title. However, one has to be careful not to set audiences up for something one can’t deliver on. Such is the problem facing playwright Samuel D Hunter and his bombastically titled play A Case for the Existence of God that just opened in the Meldrum theatre from Pioneer Theatre Company. That’s not to say this play is bad, it’s actually quite good but the title is frustrating.

A better title for this play would be ‘Toxic Masculinity’ or ‘Two Dudes in America’ or even ‘Mortgage Lending.’ I am sure Hunter has all kinds of reasons why he brings God into the title but it sets up audience for a religious themed show- something that is on the constant minds of Utah residents and then doesn’t deliver hardly at all. I suppose this subversion could be effective in surprising audiences but I just found it frustrating because I was disappointed for no reason.

Anyway, what we do get is a nice friendship story that is quite effective (hence my frustration.) The play is about 2 men Ryan played by Lee Osorio and Keith played by Jon Hudson Odom. Ryan is an alpha redneck male looking to buy a plot of land and Keith is a gay single foster dad who is a mortgage broker trying to help Ryan. We then see their relationship evolve as the lending process proves to be quite lengthy.

Osorio and Odom are excellent in their roles commanding the stage and having a believable chemistry together. The dialogue by Hunter feels authentic and genuine and I was engaged by their discussion. I am glad Hunter kept things as a friendship story as particularly with men I don’t think that relationship is explored enough especially 2 men supporting their roles as fathers.

The production itself is simple and it may have been more at home in a black box (I’m not sure why the Meldrum has only been used for 2-person small productions so far. It’s a great space. Let’s see it used to its potential! Also the chairs in the Meldrum are so comfortable.) Director Timothy Douglas keeps things simple and lets the 2 men do their jobs. The set is an office cubicle which for this remote worker can be nightmare fuel but it is highly relatable and a good choice. There are a few surprises with projections and lighting I won’t spoil towards the end but this is all about our two men (not God) and their friendship. Sometimes simple is best and that’s the case with this play.

In the end in spite of its convoluted title A Case for the Existence of God is a play any theatre lover will enjoy. The acting is excellent and it will make you want to call the Ryans and Keiths in your life to check in and make sure they are doing alright. We all need to take better care of our friends and this is a call to do so. I’d say definitely worth a ticket. A Case for the Existence of God plays through April 12th and tickets can be purchased here.

Today I give my thoughts on the poorly titled but excellent new play at Pioneer Theatre Company- A Case for the Existence of God

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 3/8-3/29 (MAN OF LA MANCHA, THE PAJAMA GAME, THE SOUND OF MUSIC, THE STING) (RACHEL’S THEATRE LOG 114)

| Rachel's Reviews

It’s always fun when I get to check off a few shows off of my bucket list, which is what I was able to do recently with 2 recent local shows. Plus, I was able to see a superb version of a classic so it’s been a fun March in Utah theatre.

MAN OF LA MANCHA- KENSINGTON THEATRE, SOUTH JORDAN

First up, we have Man of La Mancha at Kensington Theatre. I was really looking forward to this as it is a classic show I’d never seen and the team at Kensington did not disappoint.

Director Toni Butler has become a friend of mine and she always does a wonderful job at getting the best out of her community theatre cast and crew. I honestly think the team at Kensington is very underrated in the area. What’s especially impressive for their mainstage shows (not the black box like recent Shrek) is they have a full orchestra that’s actually in a pit in the ground of the stage. Obviously I’ve seen many orchestra pits in my day but never one that is actually in a pit. I always get a kick out of that and it’s just super impressive for a small company like Kensington to have live music for all their shows (orchestra director Michelle Willis)

The music is the big star of Man of La Mancha with many classic songs like “The Impossible Dream” “Dulcinea” and “I’m Only Thinking of Him.” The set at Kensington by art director Logan Bingham is stunning with 1600’s Spain created with adobe-looking buildings with multiple levels for actors to sit on. Gil Murdock is charismatic as Don Quixote/ Miguel de Cervantes and Karllen Johnson is a feisty Aldonza/Dulcinea.

My main critique of this production (aside from it being a little slow moving) is I wish they had worked in more choreography into the piece. There are a lot of scenes where the large ensemble is sitting where some movement might have livened things up a little. Unfortunately Man of La Mancha has finished its run but the teens are doing Little Shop of Horrors which you can find more information about here.

Man of La Mancha has music by Mitch Leigh, lyrics by Joe Darion and a book by Dale Wasserman

THE PAJAMA GAME- TERRACE PLAZA PLAYHOUSE, OGDEN

Next up we have a comedy I had never seen before. It’s The Pajama Game put on by Terrace Plaza Playhouse in Ogden. While there are outdated relationship aspects of this musical it does have some memorable tunes and a story about labor that many people will be able to connect with.

Terrace Plaza is an amateur community theatre so there are plenty of imperfections, but I commend them for picking such a unique choice. They are a company usually known for their family-friendly offerings but this piece has more of an edge to it along with some very catchy tunes. Director Melissa Trenery gets all she can out of her cast and Blaine Hickman was my favorite playing Sid. Jamila Lowe and Jim Tatton also did excellent work with the 50s inspired costumes. The Pajama Game is playing through April 5th and tickets can be purchased here.

The Pajama Game features music and lyrics by Richard Alder and Jerry Ross with a book by George Abbott and Richard Bissell

THE SOUND OF MUSIC- CENTERPOINT LEGACY, CENTERVILLE

Watching The Sound of Music at Centerpoint Legacy Theatre made me wish the company was more open to having critics at their shows so I could write a full detailed review and not just this log. I know it’s a risk for them, but I really do have so much I could say in a longer review. This production was remarkable and I highly recommend it to anyone in the area.

The cast is all excellent in this production with Emily Henwood and Clay Rockwood sporting incredible chemistry as Maria and the Captain. The true star, however, is the set design by Truxton Moulton. I love the choice to have a continual background of the mountains where it would have been much easier to have a projection screen. The characters are constantly surrounded by mountains which makes sense metaphorically and especially triumphant when they literally climb the mountain of the set at the end (brilliant.)

Director Kristin Pettingill Callor also makes the bold choice to show German 1940s film reels throughout including a speech by Adolph Hitler before the big concert sequence. What a ballsy choice for a company to make for a show usually seen as squeaky clean children’s fare. It is an astonishing moment and brings home the gravity of the concert I have never seen before (even the movie isn’t so tense.) Centerpoint once again proves itself to be an incredible company and I highly recommend seeing The Sound of Music while you have the chance. I guarantee this will be on my best of the year list for 2025. It is playing through April 24 and tickets can be purchased here.

The Sound of Music features music by Richard Rodgers and lyrics by Oscar Hammerstein II with a book by Howard Lindsay and Russel Crouse.

THE STING- PARKER THEATRE, SALT LAKE

Going into The Sting at Parker Theatre I wasn’t sure what I was going to get. There is a musical by Bob Martin of Drowsy Chaperone fame but this a play (an original adaptation I believe but no adapter is credited in the playbill just the writer of the Oscar winning film David S Ward.) While crime stories aren’t my favorite this is a slick and very well made production at Parker one any fan of the genre will love.

The story of this production did feel a little scattered and all over the place director Joanne Parker keeps the energy from sagging with thrilling fight sequences and loud gunshots that are very exciting. The cast is across the board on a professional level with Spencer Hohl owning every scene he is in as Johnny Hooker (the Robert Redford role in the film.) It says something to the depth of talent in Utah that the Parker was able to get so many talented men for the show. Not a weak link in the bunch.

Hohl does the sound design at Parker and it is always a highlight. I hope for a rain scene in every show I see there because it is so immersive and it is here. The costumes by Rebecca Fenton are also outstanding. No detail in the 1930s aesthetic has been left out from the period accurate hats to the shoes (a small thing but I loved how Hooker put his hat on his foot whenever he was sitting down. It’s that attention to detail I so admire at Parker.)

Like I said this kind of story isn’t really my thing but it’s so well done I heartily recommend checking out The Sting at Parker Theatre. I saw it opening night so there’s still tons of time to see it through May 3rd. Tickets can be purchased here.

So there you have it. Logs for 4 recent shows here in Utah. If you get a chance to see any of them let me know what you think. Enjoy!

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.

‘HARRY POTTER AND THE CURSED CHILD: TEEN EDITION’ DELIVERS THE MAGIC AT RIVERTON HIGH (REVIEW)

| Rachel's Reviews

Last fall I had the chance to see Harry Potter and the Cursed Child: Teen Edition at a local high school and while I was impressed with the teens I did not like the play itself. After this experience I was hesitant to review the play again but when Riverton High School invited me I decided to give it another chance. While still not my favorite play I did like it more this time and was thoroughly impressed with this production.

What I always look out for in a high school production is how many students are involved and is the director getting the most out of those students. Director Clin Eaton and his team at RHS seem to be achieving this in spades as the ensemble is massive and as many students as possible are given lines and moments to act in the play. For example, one of my favorite sections of the play is a long stretch where a ton of the kids perform magic tricks for the audience. Not only did they all excel at their tricks but it makes me happy to see so many students getting their moment to shine.

In my previous review of Cursed Child I mentioned the heavy use of projections over traditional hand-made sets. While this is still the case at RHS I had less of an issue with it as the students were clearly involved in other aspects. I don’t mind projections, but I just don’t want it to be a replacement for the positive experience building sets and painting backgrounds is for teens and the opportunities for more teens to get involved. This production had almost no practical sets but the visual effects in flying, quick costume changes were enough creativity for me to be impressed in these areas.

As far as our cast they all are excellent with Cade Snarr and Carter Reid leading the cast as Scorpius Malfoy and Albus Potter respectively. Other standouts in the large cast are Taya Faragher as Delphi Diggory and Tyler Summer as Harry Potter. The dynamic between Harry and Albus is definitely something that teens and parents of teens will connect with and it is the best part of Jack Thorne’s unwieldly play (I can’t believe it is even longer on Broadway and in other formats!)

Like I said, the visual effects they use at RHS for this production are a ton of fun. In one scene not only are deatheaters flying all around the stage but they came into the audience and even landed on my shoulder. That is a ton of fun and is guaranteed to get young students excited about theatre, which is the whole point of high school theatre. While I saw Cursed Child on its closing night I’d definitely keep an eye out for RHS and what they are producing next because between this and Hadestown (which was maybe the best high school production I’ve seen) they are doing outstanding things at this high school’s drama department.

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.