theatre

‘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.

RACHEL’S THEATRE LOG 77 (NYC TRIP 1- ROCKETTES SPECTACULAR, DEATH BECOMES HER)

| Rachel's Reviews

Hi theatre friends! Last week I was able to make my way to the great NYC for a little post-Thanksgiving trip with my family. It was actually a really fun experience because my aunts and cousins were as well as 2 of my sisters all enjoying New York and remembering my Grandma Wagner who we all miss so much. I also got to see some Broadway shows while I was there and that included 2 I paid for and 3 are comped; therefore, they will get their own full reviews coming soon. However, today I am going to share quick thoughts on the 2 I paid for and attended as patrons.

RADIO CITY CHRISTMAS SPECTACULAR-

One of the key memories of my Grandma when it comes to New York is seeing the Rockettes in all their holiday glory. They are in fact a spectacular in every way in the Radio City Christmas Spectacular! I saw this production years ago with my Grandma in 2000 but haven’t seen it since but they’ve definitely updated elements over the years. The most stunning feature was the projections that went out onto the ceiling and into the audience. They even had a sequence with Santas where the projections are shadows of the Santas (or we think so at first) and then the shadows start dancing independent of the Santas. It’s very clever.

Of course the Rockettes are amazing in this production. The kicklines and other choreography never fail to impress along with when the wooden soldiers drop on top of each other in a line together. They also had new innovations like the snow fairies as little drones with wings which is fun to see.

The highlight of the performance was the live nativity with farm animals (and even camels!) They truly do have all the Christmas one could ever absorb and I recommend checking it out. The Spectacular is playing through Jan 5th and you can find out more here.

DEATH BECOMES HER

Next up we have the new musical Death Becomes Her. This, of course, is based on the classic film from from 1992 and has music and lyrics by Julia Mattison and Noel Carey with a book by Marco Pennette. It tells the story of 2 feuding divas who end up taking a beauty potion that has grisly consequences even after they have technically died.

The main standout for this show is the very funny script and the wonderful leading performances of Megan Hilty as Madeline and Jennifer Simard as Helen. I was unfamiliar with Simard (although I think I had seen her in the recent revival of Company) but she particularly steals the show with her incredibly funny and physical performance. Michelle Williams is also excellent as the mysterious Viola Van Horn who provides the beauty potion. My only regret is the script doesn’t give any time for the 3 of them to be on stage together or have a song with each other.

Director Christopher Gattelli keeps everything popping on stage with dazzling special effects as things get more and more unhinged for our partly-dead ladies. I won’t spoil it for you but there’s even one visual effect involving a severed head that I’m still not entirely sure how they pulled it off. The songs are catchy with bangers like “If You Want Perfection” and “For the Gaze” and the costumes by Paul Tazewell are as big and unforgettable as you’d hope for.

After I left the theatre I said Death Becomes Her is the best comedy I’ve seen on Broadway since The Drowsy Chaperone back in 2006 and it is certainly one of the best screen to stage adaptations we’ve ever had. I really enjoyed it and hope it has a long life on Broadway. You can purchase tickets to it here.

I will have individual reviews of the 3 other shows I saw as they were the comped tickets but let me know if you have seen the Rockettes or Death Becomes Her and what you thought of it.

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.

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.

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 11/15-11/17 (CATS, HEATHERS) (RACHEL’S THEATRE LOG 73)

| Rachel's Reviews

Another weekend has come and gone with great musical theatre and this was a particularly special one for me because I got to check 2 popular musicals off of my bucket list. I always love when I get a chance to see something new to me and these 2 shows were no exception. Here are my quick thoughts:

CATS- KENSINGTON THEATRE, SOUTH JORDAN

When I was in high school I had the chance to see Cats or Les Miserables and I think we all know which one I chose. Still ever since then I’ve been curious about Cats but never had the chance to see it until the ABC group at Kensington put it on. It’s the kind of show that is best to think of as more of a concert and dance experience than a complex story. Creator Andrew Lloyd Webber loves this energy in a show- introduction musicals where instead of more plot we just meet a bunch of fun characters all going to the jellicle ball and see the choice of the eternal cat.

I’ve long said that Kensington is one of the most underrated theaters in Utah. They repeatedly make bold choices and execute them well and Cats is no exception. The set by art director Logan Bingham is so inventive with everything to scale for the cats and a large ledge with a climbing wall and a pit for the actors to fall into off of the wall. They also have a large professional sounding orchestra in the back of the theater.

Director Toni Butler has done a terrific job working with the cast to bring out the best in their performances making sure they are always cats even when the action isn’t focused on them. My favorite performance is probably Jack Sheehan as Skimbleshanks and his song “Skimbleshanks: the Railway Cat.” The tap dancing in that number is excellent and Sheehan gives the role a showmanship and confidence that is very entertaining. Brodie Ririe as Bustopher Jones is another favorite.

My only disappointment in a very strong production is the way “Memory” was staged felt a little like an afterthought. I wanted Grizabella to come to the top of the stage and really belt the heck out of that song but they went the understated route which made it oddly forgettable. Maybe I expected too much but it felt like a missed opportunity.

Cats is playing tomorrow night 11/18 at Kensington Theatre and I’d definitely recommend checking it out. You can purchase tickets here.

HEATHERS: THE MUSICAL- MAD KING PRODUCTIONS, SALT LAKE

Heathers: The Musical is one of those shows I’ve heard about but never had the chance to see beyond the proshot released in 2022. With it being a mature show it’s not the kind of thing often done in Utah so when I saw Mad King Productions at the Alliance Theatre was putting it on I jumped at the chance to see it. I was actually feeling really tired yesterday but it was my last opportunity so I went anyway and I’m so glad I did. What a wonderful night of musical theatre!

First of all director Carleigh-Jo Naylor did such an incredible job combing all the various elements of the show into the small black box space. This includes large choreography moments, sound effects, simulated violence and more. I was so impressed with how physically invested the performers were at times throwing themselves on the ground with fight choreography and staging that combined the right amounts of camp and realism. One of my favorite sequences is during “Fight for Me” and everything goes into slow motion with some of the actors holding their position for many minutes. It was very impressive!

The cast of Heathers was excellent. Far better than anything you’d ever expect at a little black box like that. The standout was Cooper Garrett as JD. He starts as brooding but charming but his mania grows over time until he is quite terrifying. Sydney Olson brings the right mixture of naivety and strength to Veronica and Annabelle McKinnon is a dominating mean girl as Heather. I particularly liked watching her when she’s a ghost and has more personality in act 2.

If you’ve seen the movie you know how dark the Heathers story is. It’s definitely not for the faint of heart but there is enough humor to make the experience enjoyable. If you ever get a chance to see it I recommend it. Unfortunately the production at Mad King and Alliance is done but I have them on my radar and will see more from them in the future. You can find out more about their upcoming productions here.

Heathers: The Musical features book music and lyrics by Laurence O’Keefe and Kevin Murphy.

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.