reviews

‘DIAL M FOR MURDER’ AT PTC IS HALF A GOOD MURDER MYSTERY (REVIEW)

| Rachel's Reviews

There’s no question that the mystery genre is incredibly popular. In fact, I read the other day that Agatha Christie, for example, has been outsold only by William Shakespeare and The Bible. If readers are looking for a murder mystery on the stage Frederick Knott’s Dial M for Murder is now playing at Pioneer Theatre Company. While uneven, particularly in the first act, it should be able to scratch that sleuthing itch for fans of the genre.

The biggest strength of Dial M for Murder lies in the detective Inspector Hubbard who comes in and starts to put the pieces together for the case. In a way he kind of reminds me of Columbo in his unassuming mannerisms. The biggest problem, however, is he doesn’t arrive until Act 2. This leaves us wading through tedious exposition with clues that the inspector ascertains with ease. I honestly think you could just see Act 2 of this play and be perfectly entertained without any of the build up to the murder.

At PTC the cast is all excellent in their roles with Peter Howard standing out as Hubbard. I just wish that we got him sooner because that first act is tough to sit through. I have no idea why Knott felt we needed long scenes of the conspirator Tony talking to the hitman Lesgate. Do we really need to know about their schooling and backstory? No, we just need to know that he’s the guy Tony hires to kill his wife Margot, and here’s where he hid the key. That’s it.

That said, once Hubbard arrives and the story starts going it’s pretty entertaining. At PTC, director Michael John Garces keeps his actors moving across the stage and uses light and shadow well to create mood and atmosphere (lighting by Tom Ontiveros.) The set by James Noone is interesting with a red and chrome feel to everything. I’m not really sure what era they are trying to evoke but it almost had a Tim Burton aesthetic to it at times.

They do make the choice to gender swap the person Margot has had an affair with, turning Mark into a Maxine. Margot is played by Awesta Zarif and Maxine by Lucy Lavely. Zarif and Lavely have believable chemistry and one can understand why Hubbard is initially suspicious of everyone’s stories involving the murder.

The problem is that first act. I know I’ve said it a few times but it really drags the play down. As far as a recommendation goes, it depends on how much you love mysteries. If you are a big fan, the good ingredients, once Hubbard arrives, may be enough to be entertaining. If you are lukewarm on the genre I’d probably pass on this one.

If you get to see it let me know what you think. You can read my first review of Dial M for Murder at the Covey here. The play is going through January 25th at PTC with special ‘pay what you can’ showings on Jan 21st. You can find more information 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.

BEST OF UTAH THEATRE 2024 (JUNE-DEC)

| Rachel's Reviews

Hi friends! The time has come for me to give my best of theatre awards for 2024. I did a midway post in June and some of those are still in my favorites. Natasha Pierre and the Great Comet at Pioneer Theatre Company, Spring Awakening at Hart, Pride and Prejudice at Parker all stand out as some of the best of the year.

In the second half of the year I saw over 100 shows and that includes an NYC trip. I obviously didn’t see everything but of those 104 here are some of my favorites.

Best Professional Musical-

While I loved Death Becomes Her on Broadway my favorite professional musical I saw here in Utah is the national tour of Peter Pan. I don’t even consider myself much of a Peter Pan fan but this production is full of magic and charm. I absolutely loved the flying scenes and the Captain Hook is very funny. I was very skeptical when I saw it on the Eccles program this year but it ended up surprising me.

I also really loved the Jersey Boys at Pioneer Theatre Company.

Best Professional Play

The best professional play I saw all year has to be Much Ado About Nothing at the Utah Shakespeare Festival. I loved it so much I saw it twice in one trip. Everything about this production was incredible but particular Walter Kmiec as Benedick will forever be my Benedick. He is such a talented actor but the production was also very well directed making already funny scenes even funnier. For example, in the famous gulling scene where Benedick listens to the women talking about Beatrice he gets a pail stuck to his foot which he then can’t get off making the whole scene hilarious. This is one of those productions I wish was a permanent residency so I could see it again and again.

Best Community Theatre Play

I saw many great community theatre plays but the best has to be the incredible intimate experience I had watching Misery put on by Immigrant’s Daughter Theatre and Lil Poppet Productions. It truly was a life changing experience. The entire play was done for a small crowd in the ceramics room at Westminster University meaning our characters were up close and personal. In the wrong hands this could be cringe but Tyson Baker and Stephanie Stroud were brilliant in the main roles of Paul and Annie and I don’t know when I’ve been more engrossed in a story as that experience.

Other wonderful plays I saw A Christmas Carol at Parker Theatre, Arsenic and Old Lace at Hale Orem, The Seagull at Sting and Honey, The Woman in Black at Covey, Harvey at PG Players, and Persuasion at Snow College.

Best Semi-Professional Musical

During October I ended up seeing Jekyll & Hyde twice in one week and they were both terrific productions but what they did at WVPAC was next-level outstanding. Rhett Richins was transformative as the title character and Jessica Knowles Andrus has an incredible voice as Lucy. But it was the direction by Shelby Ferrin that stood out the most with creative choices like having evil be personified with dancers surrounding Jekyll and literally overtaking him in various scenes. I don’t think I will ever see a better version of this musical.

Other semi-professional productions I loved are The Addams Family and Beauty and the Beast at Hale Center Theatre Sandy, Kiss Me Kate at Centerpoint (the best choreography I saw all year), Something Rotten at Music Theatre West, and School of Rock at Centerpoint.

Best Community Theatre Musical

It’s almost impossible to narrow down my favorite musical. I saw so many incredible ones but Mamma Mia at Sandy Arts Guild was remarkable. I honestly am sometimes bored with Mamma Mia but this was so well done if I had been able to find a ticket I would have seen it a second time. Every aspect of this was well done from the performances, to the choreography, to the 2 story immaculately made set.

Other incredible productions I want to shout out is Hunchback of Notre Dame at Timpanogos Community Theatre, Heathers: the Musical at Mad King Productions, Oliver! at Hopebox, and Bandstand at the new DoGood Theatre Company and Evil Dead: The Musical at Sanctuary were all amazing.

Best High School Performance

I didn’t see many high school performances but I can’t end this post without giving a shoutout to the unforgettable production of Hadestown Teen Edition at Riverton High School drama. Every aspect of this was incredible from the singing to the choreography to the lighting and live band. I know many other high schools are doing this edition but the bar has been set high by Riverton. Ethan Hull as Hades has a voice I am sure we will be hearing more from in coming years. What a talent!

There were so many wonderful productions I saw this year. I am thankful to everyone who has supported my career and allowed me to review their shows especially as I am stepping out on my own away from UTBA. It’s an honor and a privilege and something I don’t take lightly. I am so fortunate to be here in the greatest state for community theatre in the country, Utah. Thank you for letting me be a part of it!

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.

‘DRAG: THE MUSICAL’ IS A CAMPY GOOD TIME BUT ALSO SURPRISINGLY SWEET (OFF BROADWAY REVIEW)

| Rachel's Reviews

As a film and theatre critic I think it is valuable to push myself out of my comfort zone. While it is good for longevity to find a niche and specialize in content as I have done with romantic comedies and holiday material I want to continually grow and expand my tastes each day. This is why when given the opportunity to see Drag: The Musical during my last New York trip I jumped at the chance. In many ways I am not the target demographic for this show but I think an outsider perspective can often have value and be informative to my readers who may be interested in seeing the play or film but also in allowing their vision of me as a human and critic to not be so narrow and limited. Anyway, I was given the opportunity to see Drag: The Musical at the New World Stages, an Off Broadway theatre and I left having had a good time with a surprisingly sweet and endearing production.

My main context for saying I am not the target demographic for this show is I am basically unfamiliar with the drag movement and the fandom associated with show’s like RuPaul’s Drag Race. I am not morally opposed to it it’s just not something I have watched or become informed on. Those that are familiar with the scene will find much to be excited for in the cast and story of Drag: The Musical. The audience cheered when certain performers appeared so I only assume they have a following and will be enjoyable for their fans to see perform live.

The story (the book, music, and lyrics were all collaboratively written by Tomas Costanza, Justin Andrew Honard, and Ashley Gordon) is basic but it does the job to provide setpieces for the queens to sing, dance and even give some heart that I didn’t expect from a campy show like this. The setup is Kitty Galloway (Alaska Thunderfuck) and Alexis Gillmore (Nick Adams) are feuding exes who run opposing clubs near each other. Unbeknownst to both they are both facing financial struggles and Alexis’ straight brother Tom comes in to help the Fish Tank from going under (Kitty runs the fancier but equally struggling Cat House.)

When I saw it Tom was played by Joey McIntyre, which as an 80s girl was a lot of fun to see. The entire cast had a nice chemistry together even when they were supposed to be feuding with each other. J. Elaine Marcos delivers the lion-share of the laughs playing 3 roles- an IRS agent, a sleezy lawyer, and a difficult landlady. Eddie Korbich plays a character known as Drunk Jerry that was less effective in delivering the laughs but his character is a bridge between both clubs the story relies upon.

Director Spencer Liff keeps the action moving from gag to sentimental moment; however, I do think the show is long for not having an intermission and my friend had to leave midway through to use the bathroom and then struggled to find her seat again. In addition, while I found it to be amusing I wasn’t uproariously laughing like I was for another show I saw at New World Stages as a patron Dracula: A Comedy of Terrors or for The Play that Goes Wrong which is still playing there (although I haven’t seen it there but other places.) Surprisingly I almost find it to be a more satisfying piece of good-natured sentimentality than a laugh-out-loud comedy. At its core Drag: The Musical is about family and of course love and acceptance, which is always a message worthy of sharing.

The production elements of the show are definitely worthy of praise. Jason Sherwood’s set manages to tell the stories of both clubs while giving plenty of space for laughs to occur. The costumes by Marco Marco are as big and over-the-top as fans will hope for and the lighting by Adam Honoré is perfect in capturing that club atmosphere needed for the story.

Both Alaska and Adams are a lot of fun in their roles with Alaska getting the more dishy of the leads but particularly Adams’ interactions with young Yair Keydar playing nephew Brendan are very warm and endearing. Like I said, I think many will be surprised how sweet and family-oriented a show like Drag: the Musical is. It’s certainly not what I was expecting.

If you are in the fandom I definitely recommend finding your way to New World Stages and seeing Drag: The Musical and even if you’re not give it a shot. It just might surprise you! Adam Pascal is now playing the role of Tom, which would be a lot of fun to see. You can find more information 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.

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 12/4-12/23 (2 A CHRISTMAS STORY, PAGEANT MUSICAL, HERE’S LOVE, WHITE CHRISTMAS ) (RACHEL’S THEATRE LOG 81)

| Rachel's Reviews

Hi friends! Merry Christmas! I hope you are having a wonderful holiday season and been enjoying the best of live theatre in your area. Here’s some quick

thoughts on some holiday shows I’ve been able to see.

A CHRISTMAS STORY- SCERA, OREM

I saw 2 versions of A Christmas Story: The Musical this month and the first at Scera in Orem was my favorite. I’m a big fan of the 1983 classic film, but I think Benj Pasek and Justin Paul have done an excellent job with the music and lyrics for this show as has book writer Joseph Robinette. It captures all the childlike wonder of the movie with heart and a lot of catchy tunes. The folks at Scera have done this show multiple years in a row and they have it down to near-professional levels. It’s very impressive.

It starts with an excellent and large cast that is up for the choreography by Rebecca Boberg. My favorite acting of the group came from Cassidy Gunderson as Mother. Especially her song “What a Mother Does” is sung with empathy and tenderness. it will make most viewers want to call and thank their own mothers.

I also love bops like “When You’re a Wimp” and “A Major Award” all executed well. The 2-story set by Zippy Hellewell is very impressive and the amount of costumes by Kelse Seaver (due to Ralphie’s many fantasy sequences) is daunting to say the least.

Unfortunately A Christmas Story: The Musical finished up its run on 12/21 but keep an eye out for it next year. It’s definitely worth supporting. You can find out more about Scera and their shows here. This is definitely the highlight of the 5 shows logged in this post and one of my favorites of the holiday season.

A CHRISTMAS STORY: THE MUSICAL- HOPEBOX THEATRE, KAYSVILLE

I will only say a few words about A Christmas Story: The Musical at Hopebox. Their theater not only has a wonderful mission, helping an individual fighting cancer with each show (their Hopebox recipient), but they are one of the most consistently reliable community theaters in the state. Unfortunately this production was an off night for them and not up to their normal quality. Everything from the singing, to the sets, to the directing was much more amateur than they typically offer.

For example, when the big fight happens between Ralphie and Farcus they have Ralphie get himself up and then he is standing flailing his arms around swearing. This was such an odd choice as the whole point is he loses his cool and his Mom stops him from fighting. Him walking around and then she stops him is anti-climatic. There were just a lot of strange choices like that and like I said the performances were not on the caliber I expect from Hopebox.

That said, the only reason I have such expectations is they usually deliver on such a high level. Every company has their off night and weaker production. I still highly recommend Hopebox and they have a very fun season coming up. You can find out more here.

THE BEST CHRISTMAS PAGEANT EVER: THE MUSICAL- LEHI ARTS COUNCIL, LEHI

I love all things The Best Christmas Pageant Ever from the book, to the play, to the 1983 TV movie, to the new feature film (I even interviewed the director Dallas Jenkins here.) When I heard there is a musical and it was being put on by one of my favorite art councils, Lehi Arts Council, I had to take the chance to see it. Overall it was cute but there were a few things that kept me from loving this version of the show.

The main problem was one of seating. It’s a very small space, which I normally find quite charming but this seat was so obfuscated by the wall it hurt my overall enjoyment of the story. They really should have some kind of warning on the site that you are purchasing an obfuscated seat. It’s common courtesy.

Other than that the show is cute although I think I would prefer to see the one act play over the musical. There was nothing that stood out about the songs that justified an additional hour to the stories. The cast is very talented with a wonderful community spirit and the message of inclusion and hope is moving. Lehi Arts Council has Little Women coming up next and that should be a wonderful production. You can find out more here.

HERE’S LOVE- SANCTUARY THEATRE COMPANY, MIDVALE

When I get a seat at Sanctuary Theatre Company I know I am seeing what I like to refer to as a ‘learning company.’ This is a theatre company with a lot of first time participants both performers and in the technical categories. Sometimes that leads to inspired work such as Evil Dead: The Musical and their Avenue Q. Other times it can be a rough sit. Such was the case with their production of The Miracle on 34th Street (or Here’s Love.) And it’s too bad because this musical isn’t performed often so I was really looking forward to seeing it.

I think Sanctuary may be better off doing edgier material like Evil Dead: the Musical. That seems to suit their performers and space better than something sincere and sweet like Here’s Love. My favorite aspect was their use of the projections to create the parade in the opening numbers. Most of the other aspects just didn’t work for me. This is a learning company and I know they were all doing their best, so I won’t be too hard on them. It just wasn’t for me.

WHITE CHRISTMAS, THE OLD BARN THEARE, FIELDING

It’s always fun for me to try out new to me theater companies. I love the Broadway adaptation of White Christmas and when I saw a company up in Northern Utah, The Old Barn Theatre, was putting it on I had to get a ticket. I

To my surprise, The Old Barn Theatre has been putting on shows for 25 years and it seems to be the main project of the Hull family with director Laura Lee Hull, assistant director Marvin Hull and choreographer MarleeAnn Hull all having multiple roles including being in the cast.

One can definitely sense the family and community spirit with this show and while it is an amateur production it has heart and effort to be enjoyable. I was particularly impressed with the tapping numbers in “Blue Skies” and “I Love a Piano.”

Some of the roles are double cast so I am not sure which actor for Phil Davis I had but he and MarleeAnn as Judy were the highlights of the cast and Marc Jensen had good comedic timing as Ezekiel Foster. I do think that Marvin Hull is too old for the role of Bob Wallace. I know he is supposed to be older than Phil but it was too much and hurt the chemistry.

If I go to another show at the Old Barn Theatre I’ll make sure to sit on the east or west side because a pole blocked my view on the north side. I wish they had more of the action staged in the middle of the stage as opposed to the corners because then any seat could adequately see what is happening. Still, this production of White Christmas was sweet and I’d see something else there if given the chance (I saw the last performance.) You can learn more 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 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.

‘KIMBERLY AKIMBO’ NATIONAL TOUR IS NOT THE GREAT ADVENTURE I HOPED FOR (REVIEW)

| Rachel's Reviews

One of the interesting experiences of being a film and theatre critic is occasionally having unpopular opinions. From time-to-time something that is widely praised will not work for me and I hope I have the ability to explain my difference of opinion as competently as possible. Some people, however, will always feel threatened by this difference of opinion and that’s just a reality every critic has to deal with. I say all this because I definitely had an unpopular opinion after seeing Tony Award winning musical Kimberly Akimbo and I hope I can explain why I left feeling underwhelmed rather than charmed and moved as I was hoping for.

Let’s start with some strengths. First of all the premise is endearing and heartfelt. We have the lead Kimberly who has progeria that makes her age rapidly so at 16 she has the appearance of a 60 year old woman. This causes her to not only grapple with her own mortality (she has already lived longer than doctors predicted) but have a different appearance than her peers. I also appreciate how raw and authentic the characters are with everyone who surrounds Kimberly being flawed human beings who make messy choices. This adds a degree of unpredictability to a story that could otherwise veer into maudlin sentimentality. The book by David Lindsay-Abaire can also be quite funny and insightful.

Unfortunately the problems with Kimberly Akimbo take away from the strengths making for an uneven viewing experience. My biggest issue was the songs with lyrics by Lindsay-Abaire and music by Jeanine Tesori. Before being released as a musical Lindsay-Abaire released this story as a play and I’d be very curious to see that if I ever got the chance. I bet I would enjoy it more. Almost across the board the songs felt generic and lifeless. Honestly this wasn’t completely surprising as I hadn’t been impressed by the original cast recording but with all the praise I assumed it’s one of those shows you just have to see live to get. Not so much. The only song that I would independently listen to is “Great Adventure” and this is a problem because its the last song of the show!

The other problem is the moral murkiness of the characters, while appealing in some ways it can create tonal whiplash especially when we consider most of the characters are teenagers. While I enjoyed Aunt Debra (Emily Koch) it does strain credulity that she would involve teenagers in her check cashing scheme. Teenagers who are both extremely unreliable and would receive little of the blame if the plan came to light, which it almost certainly would. I think the narrative wants us to root for Debra as an anti-hero but it’s pretty hard when she is being so thoughtless and unkind.

I am sure Victoria Clark (who I have seen on Broadway in The Light in the Piazza) was incredible as Kimberly but Carolee Carmelo didn’t quite do it for me in the role for the national tour. Even her voice and mannerisms felt like a caricature of a teenager rather than an authentic young person who happens to have an old body.

Everything else in the production was fine. The direction by Jessica Stone gets the job done and the scenic design by David Zinn feels appropriately midwest. The most impressive section of direction was the way the “Skater Planet” scenes felt like actual ice skating. I also enjoyed the video projections by Lucy Mackinnon particularly in the finale when we get to see the “Great Adventure” Kimberly and Seth (Miguel Gil) go on.

Perhaps if one can go into Kimberly Akimbo with more moderate expectations one can appreciate the risks it takes and the heartfelt message it is trying to convey but even with those good aspects I can’t recommend it. The lead performance didn’t work, the tone is all over the place and most importantly the songs are uninspired. I hope my readers enjoy it more than I did but it’s a definite ‘not for me.’

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.

‘IT’S A WONDERFUL LIFE’ RADIO PLAY IS WONDERFUL AT PG PLAYERS (REVIEW)

| Rachel's Reviews

One of my favorite parts of embracing local theatre is discovering hidden gem theaters I never would have found otherwise. Nowhere is that more true than with the Pleasant Grove Players in Pleasant Grove. They are run out of the Pleasant Grove library and I’ve now seen many productions on the little stage and they’ve never missed. It is such a wonderful company. Speaking of wonderful they have a new unique offering for this holiday season with It’s a Wonderful Life: A Live Radio Play. Adapted from the beloved film it’s a fresh and highly entertaining way to ring in Christmas.

Most of us know the story of It’s a Wonderful Life but this production is very special because it has our cast playing actors as if they were doing an old school live radio recording complete with commercials and a large foley table with 2 foley actors (Johanne Perry and Dennis Purdie.) As much as I love It’s a Wonderful Life I was a little nervous going in this might be a little boring simply watching people read the script. I thought it might be akin to a staged reading but it is really more than that. It is a full performance with actors taking on multiple voices and characters and the foley is a character unto it self (I love foley so much!)

Directors Howard and Kathryn Little have nailed it once again and the cast is uniformly charming. L.D Weller is the standout playing Freddie Fillmore who is the narrator, God talking to Clarence, Uncle Billy and Mr Potter. My favorite sequence is when he had to play both Potter and Billy having a conversation and had to flip between both. With the movie being so iconic I also I appreciate Jared Cloud didn’t try and copy Jimmy Stewart in the lead role of Jake Laurents or George Bailey in the play.

I do think the adaptation by Joe Landry is a bit too long. Ideally this type of performance makes more sense at around 90 minutes with no intermission but it’s such a classic story I wouldn’t complain. I just don’t think we needed nearly every scene from the film minus the swimming pool dance for obvious reasons.

If you are looking for something unique and heartwarming to see this holiday season the PG Players production is well worth your time. It’s emotional and touching and brings all the holiday feels you could want. There are a few more chances to see It’s a Wonderful Life: A Live Radio Play and you can purchase 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.

‘ELF: THE MUSICAL’ WILL MAKE YOU HAPPY ALL THE TIME THIS HOLIDAY SEASON (REVIEW)

| Rachel's Reviews

One of the most enjoyable aspects of the holiday season on Broadway is the limited run festive productions we get to see to add some Christmas cheer to our theatre-going lives. This year’s entry (make sure you check out my thoughts on the annual Rockettes Spectacular here) is the revival of Elf: The Musical at the Marriott Marquis on Broadway. It’s a high energy comedy the whole family will enjoy and a great way to get some holiday cheer if you’re feeling a little blue.

Elf: The Musical is based on the popular 2003 film starring Will Farrell about a human who is raised as an elf who comes to New York City to find his long-lost (naughty listed) father Walter. I love fish-out-of-water comedies and Elf works as a film because the innocent and sweet antics of Buddy are in such contrast to the cynicism of New York and particular business world New York. Bob Martin and Thomas Meehan have captured this energy in their book adaptation and created something that makes it hard to not find endearing.

There are some mild changes from the film such as Buddy doesn’t have an elf father figure outside of Santa and the incredible author is talked about rather than seen (he’s played by Peter Dinklage in the movie.) However, most of the funny lines are kept from the film and certainly the overall tone and appeal of the character remain in tact.

At the Marquis revival Buddy is played by Grey Henson with the child-like energy you want for the character. Michael Hayden is appropriately gruff as his dad Walter and Ashley Brown and Kai Edgar steal the show as his new stepmom and stepbrother (one of my favorite musical moments is their song “There is a Santa Claus.) The big star performance comes with Sean Astin as Santa Claus and the boss Mr Greenway. Since Santa is off-stage for most of the production it makes sense to use the cast as much as possible and he is a lot of fun in both roles. One can easily see he’s having a great time with the production and that positive energy is what is needed for a show like this.

My favorite number of this production of Elf: the Musical is when the beleaguered mall Santas sing “Nobody Cares About Santa.” The choreography by Liam Steel in this song is charming and it’s a catchy tune by Matthew Sklar (music) and Chad Beguelin (lyrics.) This is also one of my favorite set designs of the night with the Santas eating at a Chinese restaurant, which is of course open on Christmas Eve.

Speaking of the songs most of the other songs by Sklar and Beguelin are fine but on the generic side. Like most Broadway shows it could definitely use a good trim as songs like “I’ll Believe in You” and “A Christmas Song” are pretty basic. Director Philip Wm. McKinley has also not done anything to make the production stand out as far as staging or setpieces. It’s all fine but I’ve seen local productions (one here at Hale Center Theatre Sandy last year) with more sumptuous sets and a more magical North Pole presence (when you think about it should the Chinese restaurant set be the most impressive part of this show?) It was, however, interesting to see what a difference the live orchestra makes as I’ve only seen it with a pre-recorded track.

Nevertheless, if a festive family offering is what you are looking for this holiday season Elf: The Musical at the Marriott Marquis will more than satisfy. It’s positive and hopeful with lots of good laughs for all to enjoy. If near Broadway this Christmas I say give “The Story of Buddy the Elf” a try. It is playing through January 4th and tickets can be purchased here.

Also if you’ve never seen it I recommend the stop motion film they made off the musical a few years ago. It’s very charming. You can purchase it here (ad)

PS. This is the first time I’ve ever reviewed a musical on Broadway as a critic. Very surreal and exciting for me. Thanks for the opportunity!

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.

BEAUTY AND THE BEAST AT HALE IS A TALE AS OLD AS TIME WITH BIG SPECTACLE (REVIEW)

| Rachel's Reviews

So much of what makes for a successful piece of community theatre is matching the right show with the right venue. And while I would never want to pigeonhole a company into only doing one type of show it is true that some material is just a good fit for certain venues. Such is the case with Disney shows and Hale Center Theatre in Sandy. Indeed, when one finds their seat at the Young Living Centre Stage it feels like we have left Utah and are temporarily in Disneyland. Nowhere was this more true than in their current stunning production of Disney’s masterpiece Beauty and the Beast. Playing now through January 25th this majestic show will delight young and all and may be the best show Hale’s done since Singin in the Rain.

Beauty and the Beast is of course based on the animated film with music by Alan Menken, lyrics by Howard Ashman and Tim Rice with a book by Linda Woolverton. It tells the story of our headstrong Belle who ends up as the prisoner of a cursed Beast in an enchanted castle. Can these seeming opposites find love? We all know the answer to that!

I saw the MWF cast for this production and Jessica Hudson leads the group of talented actors as Belle with Kyle Olsen as Beast. My favorite performances, however, are from Russell Maxfield as Gaston and Scott Hendrickson as Lumiere. They are both very funny and expressive in their roles.

The costumes by Jenn Taylor are unforgettable and what impressed me the most is they had actual fire coming from Lumiere’s candle! In all the times I’ve seen Beauty and the Beast on stage I have never seen that effect. They also have actual fire for the mob which helps the scene feel all the more immersive than it might otherwise be.

Director Ryan Simmons makes big time spectacle to dazzle audiences with characters like the plates and cups coming from the sky for “Be Our Guest” and an awe inspiring finale where Beast and Gaston fight it out on the roof of the castle for all of us to see. As I said, a production at Disneyland would not be better or more immersive than what Hale has achieved and that’s saying something.

While I really enjoyed the production there are a few things they could work on. The main problem is one of the platforms the action takes place on has a large railing around it, which makes it almost impossible to see what is happening with the actors. For example, the scene where Maurice first comes to the castle I couldn’t see a single thing that was happening. Fortunately they didn’t use that platform much but I wish they would remove the railing because it served no narrative purpose.

They also had some problems with the sound mix. While I know there are times when the vocals are supposed to be a bit echoey like when Belle first enters the castle but there are other times when it is unintentionally off and it sounds like the characters are speaking from inside a cave.

Nevertheless, if you want a big spectacle Disney production and you don’t want to go to Disneyland make your way over to Hale Center Theatre and enjoy Beauty and the Beast. It’s a special opportunity to be immersed in a classic story well told. You will be glad to be their guest! Find out more information and purchase tickets here.

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