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.
I’ve said it before but I wish more community theaters would consider putting on plays rather than musicals. They are such a great way to train up new talent, build confidence and there’s less room for error when it comes to audiences. While companies can do plays from any era it is also entertaining to see different interpretations on plays within the public domain- Shakespeare being the most popular playwright even to this day. A great example of an entertaining take on Shakespeare is currently showing at The Empress with their Appalachian themedA Midsummer Night’s Dream. I was lucky enough to attend on their Dolly Parton tribute night but any night is worthy of your time and patronage.
Also thanks to the good folks at the Empress for printing me a program. It really helps me a lot to enjoy the experience more
There’s a reason why Midsummer is Shakespeare’s most produced play (It actually was the most produced straight play period by high schools in 2025-2026!) because its play-within-a-play structure allows for a lot of creativity and adaptation. A company can really make it their own which is harder to do with some of Shakespeare’s other works. Like I said, at The Empress they have an Appalachian theme but they are also working in dance any way they can. Director Dallyn Steenerson and choreographer Stormy Hintz even start out the evening with an extended dance of the fairies setting the tone for what we will experience.
We then alternate between the Mechanicals and their ridiculous theatrical antics and the 4 Athenian lovers who are played tricks on. If anything Puck and his fairy teams are a bit more understated than I’ve sometimes seen (I always feel sad when I see Puck because of stupid Dead Poets Society which is stupid but true.) The lighting design by Chris Peck adds a lot to the story with starlight covering the stage on multiple occasions. It creates the magic you need for these wonderous events.
I’ve always felt the events with the Mechanicals is where Midsummer loses me. It’s like Shakespeare only had enough story for a one act so he puffed it out with all of the meaningless antics of this acting troupe. However, Biz Sharp as the leader Bottom is very funny and brings a lot of energy to the part. She makes those scenes enchanting and fun to watch.
That said, my favorite cast of the night was the youthful energy of the 4 Athenians- Kami McDonough as Hermia, Tanner Larsen as Lysander (who is such an underrated local talent,) Jezory Munoz as Helena and Braxton Moore as Demetrius. They all conquered the Shakespearean dialogue very well and have great chemistry as a cast.
I do wish Steenerson had involved the Appalachian theme more. I think some accents might have been nice and in the final 2 acts of the Mechanicals performance we could have had more of a folksy feel. Particularly for Dolly night it might have been nice to play one of her song choruses during that section. I also am not sure why they had me seated where they did because I really couldn’t see much of what was going on on the top of the platform because of the angle I was at and the large ladder blocking my view. I am, however, happy they had a sold out show so can’t complain much. I do also wish they could have made the greenery over the entire back wall just to make it more immersive but I understand that is probably a budgetary item.
Sitll, I enjoyed my night in the fairy forest withA Midsummer Night’s Dream at The Empress. I hope they have a good response and are encouraged to keep doing more plays like this. It is playing through Sept 12th and tickets can be purchased here. (Also don’t be afraid of it being in Magna. It’s just a hop up from the SLC airport. Not far)
A Midsummer Night’s Dream is the 12th play written by William Shakespeare. He wrote it sometime around 1595 in between Richard II and King John. The events of the play revolve around Greek mythology and the marriage between Theseus and Hippolyta. It is still incredibly popular to this day. It along with The Tempest are Shakespeare’s most fantastical stories.
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I would never consider myself a jazz aficionado but I am familiar with the work of legendary singer Billie Holiday. She lived from 1915 to 1959 when she passed away at the age of 44. The musical Lady Day at Emerson’s Bar and Grill takes us into one of the singer’s last performances and the good folks at The Grand have fashioned this musical into a truly immersive night of theatre.
First of all, director Toni Byrd has taken the back of the stage at The Grand and made a small black box environment I’ve only seen one other time at The Grand when I saw Assassins there years ago. As the name would suggest usually The Grand is a large booming space so it was a refreshing surprise to have such an intimate environment, and I hope they do this type of space more often. With this production they try and make the Emerson Bar and Grill club Holiday is performing on down to the marque outside the entrance. There are also tables where some got drinks adding to the club atmosphere. Scenic designer is Keven Myhre.
Even though the material can be quite sad, as Holiday is inebriated and sharing some tragic experiences, I actually think Lady Day would make for a good date night show. It’s short and the songs are mostly sultry and romantic. Could easily see the musical and then go to a nice dinner after. It’d be fantastic!
Of course, the atmosphere can only get you so far. The performance has to work for a small basically one-singer show to be successful and fortunately The Grand has scored with one of the best performances in Utah of the year by Noelani Brown as Holiday. Myles Anthony Mann plays her accompanist Jimmy Powers and he is great on the piano but it is Brown that shines in this challenging role. At first I felt she was a little bit too stuck to the microphone. I still think someone like her would have played the crowd a little more. However, she’s also clearly intoxicated and knowing that she died not far after it starts to make sense. We certainly see her spiral as the musical commences (it’s easy to see why Audra McDonald won her 6th Tony Award for this role. I’m sure that was incredible to see but Brown holds her own at The Grand.)
There is no intermission to Lady Day which helps us stay in the moment as Holiday unravels throughout the night while still singing some of her classics. The highlights are “Strange Fruit,” “What a Little Moonlight Can Do” and “God Bless the Child.” It’s too bad we couldn’t have a had a little jazz trio along with the pianist but maybe that would have taken away from the intimate feeling they are going for.
Still Brown gives such an emotionally true portrayal of a jazz legend at the end of her ropes that it quicky becomes one of the highlights of the Utah theatre year. I also really appreciate that The Grand is always pushing audiences with a variety of shows, many including this one that I have never seen live before. It is playing at until Sept 26th and tickets can be purchased here.
Lady Day at Emerson’s Bar and Grill is written by Lanie Robertson. It is based on the experience of creators watching Billie Holiday performing at Emerson’s Ball and Grill in Philadelphia. It first premiered in Atlanta in 1986 and Off-Broadway also in 1986. It premiered on Broadway in 2014 winning Audra McDonald her 6th Tony Award. Even though it has lots of songs it was actually considered a play with music and so she won the Tony for Best Actress in a Play.
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.
Everyone knows I love a genre specific musical. For example, some of my favorite recent musicals have been in the horror genre such asEvil 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…
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If you follow my theatre criticism you have heard me use the term “learning company.” This is the moniker I give to community theaters that are more places for education than anything else and they often wear their amateur status on their sleeve. I always say there has to be one place where people can try out the theater without needing an MFA here in Utah. For a long time I would have definitely included Beverley’s Terrace Plaza Playhouse in that learning company group. I’m not even saying there’s anything wrong with that. It’s just what it was for a long time. But this is why you always give companies new opportunities because over the last year I’ve seen a real change at Terrace Plaza. It started with Urinetown, then Freaky Friday was solid and this week their production of Disney’s Hunchback of Notre Dame is so good it may bump them out of the learning company group all together.
In fact, I have a friend who had not the best experience with one of Terrace Plaza’s shows, and I messaged her after seeing this and told her she’d like it. I wouldn’t have done that if I wasn’t confident she’d have a very different experience with this production.
Last year when West Valley Arts did Hunchback I discovered I am a bigger fan of this show in general than a lot of my friends. I admit I do give it a certain amount of credit because it is one of the only of these Disney shows that actually improves upon the animated film it is based on. Most of them are major downgrade especially Mary Poppins and The Little Mermaid. I love how they balanced the tone better than the animated film (getting rid of “A Guy Like You” and adding the Saint Aphrodisius element are such smart upgrades) but they also develop the character motivations much better particularly for Count Frollo.
At Terrace Plaza director and choreographer Aaron Ford has taken this strong material and gathered a group of actors and technicians capable of pulling off the moving story. Quasimodo played by Cameron Ropp is a little smaller than I sometimes see the character but he is very sweet and endearing. Olivia Lusk-Garibay is captivating as Esmeralda. I especially love the red outfit they give her so that when Frollo sings “Hellfire” she literally looks like fire as she dances. That was a brilliant choice by costume designer Jacci Olsen Florence. Speaking of Frollo he is played by Joshua Elden Egbert who is always excellent and he continues that streak here. He is so commanding in the role that the lady sitting next to me whispered “he’s such a creep!” Of course Josh is no creep in real life but that’s how immersive the performance is.
Sometimes Terrace Plaza can underuse the top parts of their stage (that was a critique for Freaky Friday) but for Hunchback they used those areas a lot. The bells looked very real and they used the trapdoor by the bells basically turning the right part of the stage and that platform into Quasimodo’s tower. I also really liked the stained glass lighting feature they had which changed colors for different scenes (lighting designer Melissa Trenery.) This is a nice break from the projections they have been using lately. I don’t mind a projection but will almost always prefer handmade sets if possible.
One of my favorite aspects of this production is the ensemble work- particularly the choral music throughout. The choreography is also very well executed with a massive cast with dozens of actors all dancing together on the stage for numbers like “Topsy Turvy.” I really enjoyed Dre Hay as Clopin, who can be a confusing character because he is joyous but also judgmental and even harsh but Hay finds the right energy to sell the character. Ricky Dowse has a nerdy energy that works quite well for Captain Phoebus and they all have excellent singing voices.
One point I have been critical of some Hunchbackproductions in the past is when they overplay the afterlife sequence at the end. While it makes sense for Quasimodo to lose his hunch in the after life it can be handled in a cringeworthy way. Not so here. I like that it is just a quick moment, almost like removing a coat, and the focus is quickly on his reunification with Esmeralda and his father. I also like how they handle the ending with the molten ore actually visualizing it with fabric coming out of the caldron. They really think of everything for this production.
There were a few problems particularly with the microphones and sound mix that can be worked on (I saw opening night) but nothing major. I enjoyed this so much I’d consider seeing the MWF cast if I can get up there (it’s an hour from my house.) Recently we had the unfortunate news of OPPA closing up in Layton so we need to support these Northern Utah theatre companies especially when they are putting out such high quality shows as this Hunchback at Terrace Plaza. It’s a must see in Weber County and is playing until 9/29 and tickets can be purchased here. (I had someone ask me about the seats and they are not the most comfortable but they do have cushions available for free which can help.)
The Hunchback of Notre Dame is based on the 1996 Disney animated film with music by Alan Menken and lyrics by Stephen Schwartz. The film is of course based on the novel by Victor Hugo. The book for the musical is from James Lapine and Peter Parnell. It has not been on Broadway but it did recently have a popular concert version in the West End in London. In my opinion it’s one of the only Disney Broadway musicals that actually improves upon the animated films.
If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
Growing up my Dad was a big fan of Sherlock Holmes as a character and particularly the BBC Granada series starring Jeremy Brett (if you haven’t seen it it’s fantastic and available to watch on amazon prime) I also am a big fan of The Great Mouse Detective from Disney and the first season of Sherlock as well as other iterations of the character. For these reasons I’ve been highly looking forward to Hale Center Theatre’s latest production of Moriarty (yes I’m aware the official title is Ken Ludwig’s Moriarty but I’m not writing that every time. Sorry Mr Ludwig.) Fortunately for this Holmes-head it did not disappoint.
The biggest standout to this production is the incredible set (set designer Jenn Taylor & Madeline Ashton) that transforms before our eyes with ease. The main set has exaggerated panels that can be folded in and flipped over to use both sides to create different rooms. They even at one point turn the stage into the Reichenbach Falls which are iconic in the Holmes stories. The set almost has a literary quality as if when they flip the panels over it is turning a page in the classic novels (I especially loved a boat that flips around to become a carriage. Ingenious!) This is mainly an adaptation of A Scandal in Bohemia mixed with The Final Problem and a few others added for fun. With this combination the play combines a lot of action and memorable characters like Irene Adler and the villainous Professor Moriarty (as the title of the play implies.)
Director Ryan Simmons has gathered a terrific cast that are just over the top enough to be fun without leaning too far into the camp. It never feels silly or like a comedy but it has a playful energy to it. Adam Packard is endearing as Sherlock and he banters well with Morgan Gunter as his sidekick Dr Watson. Packard also has delightful chemistry with Amber Dodge’s Adler. The Concord Theatricals page for this show says it has 5 actors playing 40 roles but here at Hale they have 7. The ensemble includes Bryan Dayley, Claire Kenny, Danny Kenny, and Bryson Smellie. Dayley is particularly impressive with his elaborate costume changes playing 6 roles including Mycroft Holmes, Inspector Lestrade, and Professor Moriarty all with different accents and personas. I saw him playing the D’Ysquith family in A Gentleman’s Guide to Love and Murder years ago. He’s incredible at playing different roles in the same show.
Even though the program says it is 2 hours I was in my car recording my reaction by 8:30 so it is under 90 minutes. While sometimes I feel cheated by a show with a brief runtime I didn’t mind it here. Where something like Six feels like I’m only getting half a show here it is full experience and nothing feels truncated or not fleshed out enough. Ken Ludwig knows how to put together a crowd-pleasing show and that’s what he does here. I think this is a lot better than his other take on Sherlock Holmes called The Game’s Afoot which is too meta for its own good (I felt cheated out of a Sherlock story with that one.)
The rest of the technical team behind Moriarty at Hale are first rate with costumes that can handle quick changes by Joy Zhu, lighting by Marianne Ohran, and sound by Kristin Tenney to name a few (by the way I love how many women are working on this production at Hale.) Because there is a little bit of romance along with the mystery and adventure Moriarty is also a play that should appeal to both men and women equally making it a great choice for date night.
Because I love musicals so much it might be a surprise to hear that of the 3 shows currently at Hale Ken Ludwig’sMoriarty is my favorite (My reviews for Our Town and Joseph.) It’s a super fun night at the theater that you and your family will love. While it is playing through November 14th I’d get your tickets now as it is sure to sell out. Tickets can be purchased here.
Ken Ludwig’s Moriarty is written by of course Ken Ludwig based on the classic detective short stories by Sir Arthur Conan Doyle. It first premiered at the Cleveland Playhouse in 2023.
I need your help!If you enjoy my writing and would like me to review your production I’d love to. I also have a patreon which is a great way to support my shorter logs for shows I don’t get to review. I have some really fun perks like bonus episodes, patron polls and monthly Q&As with actors, directors and writers. Please take a look here.
Hey theatre friends! I have a few shows to report to you all quickly that I attended as a patron not a critic. These are not full reviews but just a few quick thoughts on the productions. Make sure you are following me on instagram to get my out of theater reactions to everything, film and theatre, that I see. If any of these companies or others would like me to do full reviews DM or email me at rachelsreviews65@gmail.com. Here goes
Romeo & Juliet- Millcreek Community Theater, Millcreek, Utah
I love all levels of community theater but I especially love when a company leans into the community aspect. There’s no better example of this than the recent production of Romeo & Julietat Millcreek Community Theater. Not only was this classic well performed and directed but it was a free gift to the community. I hope that the community used this free gift as a way to introduce your kids to Shakespeare and this classic play or just enjoy it at no cost to yourself.
Of course, the show still has to be good even if it is free and this was. Director Traci Nelson got quality performances out of her large cast and Russell Jordan and Paige Sutherland had good chemistry as our leads. They could have done a little more with the 1950s setting update to the play but the way they used scaffolding and the outdoor amphitheater at Canyon Rim Park was effective. My only critique would be to give more directions next time because I parked on the wrong side of the park and I wish I’d brought my folding chair. Still, I really enjoyed this classic story well told. This production of Romeo & Juliet has finished its run but keep an eye on Millcreek’s facebook page for more information here.
Cyrano de Bergerac- Parker Theater, Salt Lake City
When Parker Theater announced their 2026 season we were all very surprised to not see a Shakespeare play on their roster. Along with Jane Austen they always do a play from the Bard but it all made sense when they had Cyrano de Bergerac instead. Even though it is a play written hundreds of years after Shakespeare it has much in common with one of his dramas and as an audience member it scratches a similar itch.
While the prose is good by Edmond Rostand it is a play that lives an dies on its main leads and you couldn’t ask for better actors than they have at the Parker. Roger Dunbar is commanding and devastating as Cyrano and Russ Maxfield (who I have loved for years since seeing him as Harold Hill in The Music Man at Centerpoint Legacy) as Christian. Sometimes I can leave this play feeling frustrated with Christian in his lack of honesty with Roxane but Maxfield creates empathy for the character. When he delivers his final plea to Cyrano that he wants to be loved for who he is it’s quite devastating. Roxane can also be a frustrating character because one can’t help wonder why she can’t see that Cyrano is the one who wrote those letters especially after 15 years! Kristi Curtis is convincing in the role and one can’t really blame her when everyone is lying to her for those years.
This production of Cyrano de Bergerac is directed by Spencer Hohl and he also does the fight choreography and sound which are all superb and help keep the play from feeling stodgy. The lighting by James B Parker is always the best in the state. They did a pretty good job paring down the play to just over 2 hours and it does include 5 acts but only 1 intermission is long. Cyrano is playing at the Parker through August 29th and tickets can be purchased here.
Frozen- Sandy Arts Guild, Sandy
I’m not sure why but nothing is being performed more this year than Frozen here in Utah. I could spend my entire theatre year going to just Frozen but one can only take so much Norwegian Disney delight. Suffice it to say I’m being picky with the Frozen productions I do see but when I heard about the cast at Sandy Arts Guild I had to see it and it did not disappoint.
To begin with I am always amazed at what SAG is able to pull off in a high school auditorium, which are so big and echoey- a tough venue to perform in but they don’t let that stop them. The team there led by director Mindy Eckroth has seemingly thought of everything with impressive visual effects using projections and lighting by Rick Marston, professional-looking sets by Tavnir Carey (Oaken’s Trading Post was a standout) and gorgeous costumes by Karen Chatterton (I like the unique design of Elsa’s “Let it Go” dress. Sometimes companies feel like they have to make things exactly like the movie or show but this had its own flare to it with the sparkles and sheer overlay.) I also like how they made the “Hygee” number their own (even though I can’t stand that song) with the cast in satin bathrobes and hair coverings.
The cast is across-the-board outstanding with Sydney Dameron and Makayla Conner Marriott leading the way as Anna and Elsa respectively. You couldn’t ask for better singing or acting for either role. I also really liked Gabe Velez as Olaf. He not only operated the puppet well but broke the fourth wall on occasion with winks to the audience. It is charming.
There are some challenges to performing in the auditorium but I still highly recommend this production of Frozen. Take the whole family. They will love it. There are 2 more performances and tickets can be purchased here.
The Scarlet Pimpernel- The Ruth, Pleasant Grove
I already reviewed the MWF cast of The Scarlet Pimpernel at The Ruth, which I thoroughly enjoyed. However, I wanted to see the TThS cast with my Dad because he is a big fan of this musical. Fortunately I was able to do both, and we had a great time with this cast. I particularly loved the men in this cast with Scott Hendrickson delivering every emotional moment as Percy and Bronson Dameron a commanding villain as Chauvelin.
I love how director David Morgan has transformed the stage into whatever the story calls for. He creates ships sailing, guillotines slicing, carriages riding and more. The fight choreography is so much fun (I even like that Marguerite gets in on the sword-fighting action at one point.) Even though The Scarlet Pimpernel is on the forgettable side it’s so well performed at The Ruth that it becomes memorable. I’m glad I saw it a second time. It’s playing through August 22 and tickets can be purchased here.
Newsies- West Valley Arts, West Valley
While Frozen is a show that taps into younger Disney fans Newsies is one that triggers my nostalgia quite strongly. The movie came out when I was 11, and I loved it then and still love it today. Fortunately the new production at West Valley Arts doesn’t even need that nostalgia to make for a good time. It’s honestly one of the best shows I’ve seen from them in some time.
My favorite part of this musical is how immersive it felt. Director Kate Rufener did a great job using the entire theater to tell the story including all of the platforms. I particularly liked how Pulitzer is up in his office looking down on scenes he’s not in but being impacted by like “Seize the Day.” Jerdyn Akeripa has huge charisma as Jack and the rest of the cast is great surrounding him. One of my favorite touches is having all of the Brooklyn newsies be girls (not girls playing boys but just girls.) The costumes throughout by Alicia Kondrick are excellent. If you like Newsies you should definitely give this production a try. It is playing through August 29th and tickets can be purchased here.
Waiting for Godot- Good Company, Ogden
There are certain plays that I feel are important for any theatre fan to eventually cross off their bucket list. One such play is Waiting for Godot by Samuel Beckett. I am not much into absudrism or modernism but again I feel this is a play I needed to see at least once. This is why I was excited when I found out Good Company was staging a production. Even though the style of the play isn’t really my favorite I’m still glad I got to see a very good version of it this year.
This play is about 2 main characters Vladamir (Michael Scott Johnson) and Estragon (Arie Allred) who are waiting for a mysterious Godot in some kind of barren wasteland with only a plastic tree in the middle of the stage. Along the way they come in contact with a man who I think is the devil called Pozzo (Alvaro Cortez) and a couple other characters. Both Johnson and Allred are excellent in these roles and the play definitely gives the viewer something to chew on. It would be a fun play to see and then go to dinner with friends and talk about the different interpretations.
My only complaint with the show is the door was hard to find so I walked around in the blistering heat trying to find it with every door being locked, so I was overheated by the time I was watching everything. Perhaps a better sign might be helpful? I don’t know I’d want to see Waiting for Godot again but I’m glad I saw it with this strong version of it directed by Mark Fossen. It is playing through August 16th and tickets can be purchased here.
So that’s my update! Have you seen any of these shows? Let me know in the comments. What have you been watching on the stage lately?
Romeo and Juliet is a play by William Shakespeare originally debuting in 1597 and it was his 10th play. Cyrano de Bergerac by Edmond Rostand was first published in 1897 in France. Frozen is based on the animated film and has music and lyrics by Kristen Anderson-Lopez and Robert Lopez. It was first performed in 2018. The Scarlet Pimpernel has music by Frank Wildhorn with lyrics and book by Nan Knighton. It is based on the novels by Baroness Orczy. Newsies is based on the film with music by Alan Menken and lyrics by Jack Feldman and a book by Harvey Fierstein. It premiered on Broadway in 2012. Waiting for Godot is a play by Samuel Beckett which was first published in 1952.
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I know many theatre lovers grumble and complain about the various Disney family based musicals, and I understand the concerns. However, the Disney musicals are not all the same and one of the biggest outliers in their catalog is the musical adaptation ofFreaky Friday. Not every choice the musical makes works, but it at least makes bold choices and has something to say to families. It is definitely worth seeing and right now Northern Utah audiences have the chance to see a wonderful production of Freaky Fridayat Beverly’s Terrace Plaza Playhouse up near Ogden. It’s about an hour drive for me to get up there but well worth it for this wonderful night of community theatre.
There are some shows that live and die on its lead performances and Freaky Friday is totally one of those shows. The production is double casted but the night I attended had Isabelle Page as daughter Ellie and Lindy Combe as the mother Katherine. They not only both have a challenging group of songs but have the acting task of believably playing they are inhabited by another character- mom inside daughter, daughter inside mom. Fortunately both Combe and Page are up for the challenge and excel at the physical comedy and reacting the way the other would react when they are touched or spoken to in a particular way. It leads to a lot of laughs and effective scenes. It’s also impressive that Page can climb the rope in “Watch Your Back.” It’s really hard to do literal exercise while singing, but she and the whole cast do an excellent job during that sequence (it’s a PE testing day at Ellie’s school.) I also really enjoyed the supporting cast including the nerdy take on Adam by Trey Montgomery Cornell. He is very endearing particularly in the “Women and Sandwiches” number.
The other standout element of this production at Terrace Plaza is the lighting and use of projections. I mentioned this in my log about their recent Urinetown which used the projections so well to add setting and context to the story. While some of these in both musicals are definitely made with AI they aren’t lazy substitutes for hand-crafted sets but a way to enhance the story, which I love to see (projection design by Tyler Cahoon). For example, in Freaky Friday they use the projection to create the magic of the hourglass adding a layer to the storytelling that’s a lot of fun. I also really enjoyed the lighting that surrounds the stage and the way the lights were used in the hourglass to once again create the magic (lighting design Danielle Loveland and Emily Crow.)
While it’s always good to go to musical theatre to be entertained (and this show is entertaining) what director Whitney Cahoon and her team have put together could be even more powerful than just entertainment. This is a show that tackles a lot (arguably too much at times) and it would make a great family night activity and lesson where one could see it with children and talk about themes of loss, grief, forgiveness, and just the humanity of our family members. We think we understand what they are going through but do we really? Probably not and maybe walking around in their shoes metaphorically speaking would do all our families a whole lot of good.
As far as room for improvement at Terrace Plaza some of the choreography feels a little uninspired particularly in the “Biology” sequence, which in fairness, is my least favorite song of the show. Also they have the entire stage decorated including 2 platforms above the chairs but barely use most of the space, which feels like a bit of a missed opportunity.
Terrace Plaza is a company I often classify as a ‘learning company’ meaning it’s a place for people to go and try out theatre- where you don’t need to have an MFA to participate. I love that these companies exist but it can be a bit of a rough time for the audience as people are learning and growing as performers. However, with Freaky Friday andUrinetown I really didn’t have to make those learning company excuses. They have really stepped up their game, and I’m definitely more motivated to make the one hour drive than I might have been previously. I think you will also find it is well worth your time to see Freaky Friday. It is playing through August 1st and then they have another Disney musical Hunchback of Notre Dame coming next. More information can be found here.
Freaky Friday has music by Tom Kitt and lyrics by Brian Yorkey with a book by Bridget Carpenter. It is based on the book by Mary Rodgers and the feature films by Disney (1976 and 2003 being the most popular but I love the underrated 1995 version) There is actually a DCOM of this musical that was made in 2018 starring Heidi Blickenstaff and Cozi Zuehlsdorff. It’s not a perfect adaptation, but I enjoyed it. The musical was written in 2016 where it was first performed in Virginia.
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One of my favorite parts of being a theatre patron is the variety of experiences I get to have. I love a big grand musical like I saw on Thursday with Hale Center Theatre’s My Fair Lady, but I also love the experience I had Saturday night at a small black box production of The Seagull put on by New World Shakespeare Company. While a long Anton Checkhov play won’t be for everyone I’d recommend seeking out this production for the insanely high quality acting alone but also for the immersive and memorable experience you will be treated to.
This is my second time seeing The Seagull and I was struck like the last time with the humor it has. One expects a Russian treatise like this to be dark and solemn and it has those moments but it also has quite a bit of humor. This makes the characters feel more real and human.
If you are new to the material, The Seagull follows a group of artists who seemingly have nothing in common but the desire to create things. Irina (Amber Heinrich) is given number one listing on the call sheet but it is a true ensemble piece. She is an actor who prioritizes her career over relationships including her son Konstantin (Jackson Eastmond) who she gives patronizing affection to. Konstantin is in love with a young actress named Nina (Kate Potter) who then is in love with writer Boris (Zach Reynolds.) And that’s only the start. There are a lot of characters in this play and they are all superbly acted at New World. Since they did the adaptation I do wonder why they didn’t trim it down a little bit as every character didn’t feel necessary but they are very well performed.
The production elements are simple in the black box space with a few props and a backdrop for each of the 4 acts (set design by Blayne Wiley.) Director Shea Potter smartly doesn’t complicate things but let’s his strong cast shine.
As far as downsides to The Seagull it is a long sit at 3 hours. Sitting on those office chairs for that long is pretty brutal so I would recommend bringing a cushion if you can remember. Either way you have to be ready for a long, slow moving drama. The characters aren’t super likable and it can be on the depressing side.
Fortunately you have almost a month to see this play so there’s no excuse to miss it. It is playing until June 27th and worthy of your time for the acting alone. Tickets to New World Shakespeare can be purchased here.
The Seagull is a play written by Anton Chekhov. This adaptation was done by Elise C Hansen. It was first performed in 1896 in Russia.
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Rachel Reviews Theatre 