Seek Out the Scarlet Pimpernel at the Springville Playhouse!

By Megan Graves

In a modern media world that repeatedly portrays dramatic rescues, rebellion, spies, and government intrigues, the story of the Scarlet Pimpernel has all that and more, presented in a unique way on the stage that brings you closer to the sword fights, suspense and drama then you could get just on any dimmed, elusive screen. Though I had practically memorized the soundtrack to the Scarlet Pimpernel musical a few years ago, I had still postponed seeing the show because I thought I knew the story so well after having read the book and watched the movie a few times. However, I was pleasantly surprised by unique, new, characters, a stellar presentation done by cast and crew, as well as a different ending than either the book or the movie. It is worth it to see the musical even if you already know the story, and Springville Playhouse does a stellar job at their depiction of war-torn France and the unlikely heroes who saved innocent people from Madam Guillotine and the mob mentality of the French Revolution.

The cast had excellent costumes.

The cast had great depth of vocal and acting talent, and excellent costumes to boot.

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Man of La Mancha is a Lovely Message in a Lovely Musical

By Michael Todd

Man of La Mancha, a play with in a play, is about a man Cervantes who tells a story about a “mad” knight Don Quixote who set out to find adventures with his squire, Sancho Panza. Man of La Mancha is written by Dale Wasserman lyrics by Joe Darien and music by Mitch Leigh, based off the book Don Quixote by Miguel de Cervantes.

The set designed by Terry McGovern was breathtaking, though a little too clean. I wanted it scruffier and more like a dungeon. But there wasn’t a part of the set that didn’t match. The drawbridge stairs to get into and out of the dungeon was pure genius.

The director, Carol LaForge and assistant director Terry McGovern, did an amazing job—though there  were moments of different actors upstaging one another. But overall, each scene was blocked well and I stayed focused on the important parts of the play and keep the distractions at bay.

Choreographers Pamela Giles and Sarah Wilson chose playful simple dances and this worked well, but I would have liked to see a little more movement.

Costumes, hair and make-up by JoAnn Gebs, Katie Fowler, were very true to the time period.  Vocal Direction by Cassidy Ellenberger was clear and excellent—her singers sounded marvelous. All the actors not only sounded great, they remained in character. The orchestra was played beautifully directed by Marilyn Syra. However, I wish they’d been a little louder but that could be the acoustics of the auditorium and where I was sitting.

Don Quixote Cervantes played by Rand Johnson gave a breathtaking performance. Just as the song says, “To Reach the unreachable, the unreachable, the unreachable star and I’ll always dream the impossible, the impossible dream yes, and I’ll reach the unreachable star.” Johnson truly had star quality in this production.

Sancho Panza played by Randy Turnbull, had a great character and lightened up the stage when he was onstage. Aldonza/Dulcinea played by Kathryn Hawley was a powerhouse on stage, I enjoyed seeing her character evolve from the kitchen serving girl born in the dirt and cater to scum to the Lady Dulcinea, helping a madman see the effect he had on the world and your character. You beautifully expressed each emotion from anger and hatred to curiosity and then to love and desire.  Other notable players were Nick Ellsworth who played the Governor/Innkeeper. I enjoyed how contrasting his two characters were. Anselmo played by Eli Unruh has the beautiful solo in Little Bird. Tony Ellenberger as Pedro—he plays a mean and nasty character very well. An honorable mention to Padre played by Colton Fowler—he had me fooled into thinking he was an actual clergy man. Truly, if it wasn’t for everyone cast in this show, it would have fallen flat, for each actor and actress on the stage made the production shine.

I was very touched by Man of La Mancha and highly recommend this show.

The production runs nightly June 15th to June 25th, except Sunday, at Tooele High School Auditorium. The show starts at 7:00 pm. Tickets are  $10 for adults (12+), $7 for senior (65+). Make sure you grab your snacks and bathroom breaks before the show for there is no intermission, the show is about 2 hours running time

The Ziegfeld’s Rock of Ages is 80’s-Filled Fun

rock of ages

By Cindy Whitehair

We took a journey back in time, to Ogden Utah circa 1985 to see the Utah premier of Rock of Ages at the Ziegfield Theater.  If you think you know the plot for this show based on the movie starring Catherine Zeta Jones, Tom Cruise and Russel Brand, think again.

The first thing you encounter as you enter the theater is a gritty looking, multi-level (multi-function set) that is designed to be your backdrop for the seedy Bourbon Club on the Sunset Strip of the mid ’80s.  Designed by Erica Choffel, it really worked well for the Zieg space and helped facilitate the nonstop action that took place throughout the show.  It was also great camouflage for the speakers that were needed for the live rock band that was playing throughout the preshow, show and most of the intermission.

The band, aka The Arsenal, consisted of Rick Rea (keyboard), Jacob Lambros (guitar), Matt Conlin (bass), Cameron Kapetanov (drums) and Lindsay Kapetanov (cowbell) was superb.  When you can go effortlessly through Ozzy (Crazy Train), Blue Oyster Cult (Don’t Fear the Reaper) and Guns & Roses (Paradise City)–well, you got this ’80s gal hooked.

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If you lived during the ’80s, then you know without a doubt that Costumer Alina Gatrell nailed the costumes.  There was lots of mesh, funky, clunky heels, bright colors and concert t’s that were the staple of any ’80’s child’s wardrobe.  The hair was *B*I*G* thanks to Wig and Makeup designer Dee Tur’one and oh my, that blue eyeshadow!

The cast did a great job conveying the fun of this show.  A couple of shout-outs though to JJ Bateman (Lonny), Natalie Nichols (Sherri), Jake T. Holt (Drew), Brent Jorgensen (Hertz) and Derek Gregorson (Stacee Jaxx/Father).  Each had their stand out moments during the show but it was Bateman’s Lonny that was the chronic scene stealer as the show’s narrator. His duet (I Can’t Stop This Feeling Anymore) with Daniel Akin (Dennis) was very sweetly, lightly, and humorously played.

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But the biggest shout-out simply has to go to the ensemble.  They were sharp, they were synchronized–there was no hiding.  They were leaping off of platforms, hanging from the pole dancing poles, running up and down stairs, and just making choreographer Heidi Potter Hunt’s bold choreography look amazing.  We had more fun just watching them dance!

The only real problem that we had with last night’s show was the sound.  There were times when the actors were drowned out by the band, either due to bad mixing or mics not working.  It was usually caught and corrected, but it did make for uneven sound quality in a show that demands outstanding sound quality.

rock2All in all, director Trent Cox did an outstanding job keeping this herd of cats going in the same direction.  This show is frantic and frenetic and it takes a director with vision and finesse to keep it contained but still right on the edge.

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If you love ’80s music, then Rock of Ages is the show for you.  One word of caution though, while significantly toned down from the movie, this play does carry a mild “R” rating.  There was implied drinking and drug use, a lot of bumping and grinding in the dancing, and implied sexual situations and more than a little swearing.  If any of that offends you, you are probably better off skipping this one.

However for us, it was well worth our time to make the 45-minute drive to Ogden for this show.  If you get the chance to see it before it heads up to the Egyptian in Park City, go.  You won’t regret it.

Rock of Ages presented by the Ziegfield Theatre Company.  Tickets are $20.00 and are available at the door or at their website www.zigarts.com http://www.theziegfeldtheater.com/

Ziegfield Theatre Company, 3934 Washington Blvd (Hwy 89), Ogden Ut 84403

Remaining Performances: June 17, 18, 24th 7:30 PM, June 25th 7:30pm with a 2 PM matinee on June 25th

Pinnacle’s Titus Adronicus is a Wonderful, Intense Take on this Shakespeare Tragedy

titus

By Perry S. Whitehair

On Thursday, I had the pleasure to see my first show at Pinnacle Acting Company. Pinnacle Acting Company chooses to produce classic and contemporary classic works of theatre. So upon hearing that they chose to re-envision William Shakespeare’s classic tragedy Titus Andronicus, I knew that I must take advantage of this.

The show was set in an all-women’s penitentiary in an intimate style black box with only a platform on house right and chalkboard just upstage of center. Fun fact, if you are seated in the front row there is a crowd scene where the actors encourage you to interact with them, breaking the fourth wall. The adaptation and the setting really worked out well for the director L.L West as they made great use of all of the set pieces, which helped the audience understand what happened and when we changed locations in the play.

The story follows Titus who comes home from war with prisoners in tow. Tamora, Queen of the Goths pleads to Titus to spare her son from sacrificing him for the bloodshed that occurred in the wars away from Rome. Titus refuses and thus kills Tamora’s son and leads Tamora to plot her revenge on Titus and his family for the pain that he caused her. We see the systematic and thorough plotting of Tamora nearly bring Titus to insanity. Romans are nervous of getting in between these forces and what they want. Don’t miss the twists and turns that occur that nearly bring Titus to his knees in agony.

To compliment one single actress in the cast would be foolish as the ensemble of Goths, Romans, and even the security guards really contributed to the action that took place on stage. No one ever pulled focus from where the attention needed to be in the moment of the play. That being said, I was especially impressed with the amazing work and acting choices of April Fossen (playing Titus), Anne Louise (Lavinia), and Melanie Nelson (Tamora. Each of these ladies had me connect with their characters stories and either empathize with them (Fossen and Louise) or often makes you love their anti-hero character schemes in the case of (Nelson). To bring all of these characters into the same believable world was pure joy, to which I give the utmost credit to the director for doing what often can be forgotten when creating a show. They highlighted the comedic moments in an otherwise very dark Shakespearean tragedy.

Sets and lighting were nothing to gawk at as they are located in an educational black box space but both served the purpose of the actors and the play effortlessly. This show is not meant for faint hearts as many deaths and other horrendous subject matter occurs on and off-stage but if you have the means and time to see this show, don’t walk but run to it. Find time to see a different take on a classic piece of theatre history from Shakespeare and his time.

Titus Andronicus

Pinnacle Acting Company,  1250 E 1700 S, Salt Lake City, UT

Ticket inquiries: 801-810-5793

www.pinnacleactingcompany.org

Ticket prices: $18 adults, $15 seniors and students (with valid ID), $15 matinee, Groups of 10 or more $13. (Call ahead to reserve).

Cedar Valley Community Theater’s Once Upon a Mattress is Something You’ll Want to See at Least Once!

By Wendy Sorensen (Guest Reviewer)

My fourteen-year-old companion and I thoroughly enjoyed Heritage Center Theater’s production of Once Upon A Mattress.

In all famous fairy tales, good triumphs over evil. This rings true in Cedar Valley Community Theater’s (in Cedar City) Once Upon A Mattress–this fun-filled musical does not disappoint.  The misguided Queen Aggravain has decreed that any potential bride for her son must pass a test (designed by the Queen) in order to marry him. Not only can her son not find a bride worthy of him because no one has been able to pass her test, but NO ONE else in the kingdom may marry until the Prince marries his princess.  Enter Sir Harry and Lady Larken, who must be married quickly because Larken is pregnant.  If they cannot be married quickly, Larken will have to leave the kingdom.  With haste, Sir Harry embarks on a quest to find a bride for Prince Dauntless. He returns with Princess Winifred.  The queen does not approve of her and is determined to keep Princess Winifred from passing her “test” in order to marry her son.  Dauntless and Winifred fall in love.  The queen is determined to make her test unpassable.  She places one tiny pea amongst 20 mattresses to see if the princess is delicate enough to feel the pea.  If Princess Winifred sleeps peacefully without finding the pea in the mattresses, she fails the test.  Will King Sextimus be able to speak once the curse is lifted? Will “the mouse devour the hawk”? Will Princess Winifred pass the test and marry the Prince?  Will they all live happily ever after?

Queen Aggravain (Tamara Reber) did a great job as the “evil” queen who does everything she can to keep her son single. Reber’s accent was consistent through the entire performance. I think my favorite song that she and the wizard sang, was Sensitivity. She has a great voice and stage presence. King Sextimus (Danny Hansen) did such a good job as the “mute” king.  I’m sure it was really difficult to play charades for most of his performance.  He didn’t miss a step, even when one of the jewels fell off his crown.  Making the queen hop, skip and jump at the end stole the scene.  He did a great job teaching his son, Prince Dauntless about the birds and bees.

Prince Dauntless was a very likable character.  He played the mommy’s boy prince perfectly.  His Man to Man talk number was my favorite. Princess Winifred (Kelsea Burton) was delightful in her role as the chosen fiancee. Her voice was spot on the entire performance and her physical comedy matched her acting ability.  The favorite song she did tonight was Happily Ever After.  Great stage presence.  All eyes were on her when she was on stage.

Sir Harry (Devin Anderson) has a wonderful voice–he didn’t miss a note. He and Lady Larken had great chemistry.  Way to go on his kissing scenes! Lady Larken (Katie Tremelling) has a beautiful voice and great chemistry with Sir Harry.  She did a great job in all of her scenes and played off the other characters in the story with a fearless loveliness.

Minstrel (Indiana Jones) was really cute with the kids in his Prologue. Jester (Meghann Eide) can really dance and sing and was great in scenes with the King and Minstrel and is a very likable character. Wizard (Dee Rich) was fun to watch and played off the queen very well. The two actors made you think something else might be going on there in their relationship with each other.

The choreography by Heather Shurtleff had all her players moving well together. As with most community theater productions, the dancing was basic and very effective. Hair and make up by Jessie Bailey and costuming by Janice Ruesch and Debbie Grimm made for a very pretty and royal-looking production. Scenic Design by director/producer Noel Perry was wonderful. We especially loved the huge mattress construction. Music director Trevor Walker has given his performers excellent instruction, as the principles all had clear, lovely voices and we enjoyed it a great deal.

Perry has created a lovely production for this community and I would recommend all who can attend make it a priority. He uses his actors well and keeps them moving from scene to scene with energy and fun.

A small note about the lack of theater etiquette: My only “negative” comment is that for an opening night there wasn’t very much family or community support.  We counted about 50 people. There was also a little girl who was literally rolling down the aisle during the performance.  It was VERY distracting.  Until another audience member said: “This child’s mother better take care of their friggin kid or I’m going to” loud enough for the mother to hear, thankfully. She finally required her child to stay seated, but the show was almost over. The Heritage Center Theatre is a very nice venue.  If the place would have been full, I would hope that the mother of that small child would have done something sooner.

That being said, I hope that the community will come enjoy this show. It is really fun!

The Heritage Center Theatre May 27th, 28th, 30th & June 3rd, 4th, 6th  2016

General Admission – $12, Seniors, Students, Children 12 and under – $8

The Heritage Center is located to the North of the parking garage

http://www.heritagectr.org/

Facebook Page for Venue

Pioneer Theater’s The Count of Monte Cristo is an American Debut Smash!

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count3By Joel Applegate

Design and vision triumph in The Count of Monte Cristo. Salt Lake’s glitterati turned out in force for Pioneer Theatre’s opening night. Turns out they were not overdressed (I certainly wasn’t!). As the American premiere of this new musical – already seen in Europe and Asia – it deserves everyone turning out in their finest because the company of Monte Cristo certainly gave theirs. The creators of the piece were on hand and stated they were thrilled to finally hear their creation sung in English, having assisted directly with Pioneer’s production team.

And what a night it was. The sheer stagecraft of Pioneer Theatre’s artisans has amazed me before, but this production surpasses everything I’d seen. Fascinating stage pictures on rotating stairs are not only a masterful achievement for the designer, Michael Schweikardt, but a distinguished credit to the craftspeople as well. Together with the director/choreographer, Marcia Milgrom Dodge, they pulled off an awesome creative vision.

count2The towering stairs create many environments with occasional assists from a ship mast, a hot air balloon and columns flying in from all directions. The live orchestra led by Michael Sebastian stirred us up with an excitingly executed overture and supported a beautiful score throughout, modulated perfectly to enhance the operatic numbers.

One would not think that one of the world’s best known revenge stories would lend itself to musical theatre, but really, Murphy and Wildhorn’s creation is more lyric opera. There are a total of 28 numbers in the two-hour show. Among the first to delight the opening night crowd was “A Story Told”, a jaunty tune sung by the villains of the piece, Mondego, Danglers, and Villefort, played, respectively, by Darren Ritchie, Brandon Contreras, and John Schiappa. The three plot our hero’s downfall with a gleeful toast. As one of the best prominent supporting characters, Schiappa’s work was clearly menacing, supported by his powerful, yet tonally pleasing vocals. Ritchie and Contreras each had their own moments with increasingly challenging material, their tenors delighting our ears.

count1Vocals were, of course, critical to telling this story and no one disappoints. As the lead, Matt Farcher as Edmund Dantes, the Count, seemed to soar ever higher and more powerfully with each successive song. His erstwhile love, Mercedes, was played by Brenda Carlson-Goodman with a strong, wide range at her disposal. But perhaps one of the greatest voices on that stage truly belonged to Dathan B. Williams as the Abbe Faria, the old prisoner who befriends and becomes a teacher to the hapless Edmund. Williams’ honeyed baritone is controlled and purposeful in everything it does, from the rhythmic “Lessons Learned” to the redemptive “When We Are Kings.”

The music by Frank Wildhorn (Composer of Jekyll & Hyde and The Scarlett Pimpernel) is suited to a story that features daring escapes, swordplay, and our challenged lovers within its visual feast. I couldn’t help but think that this show can stand proudly alongside Les Miserable and Phantom of the Opera for its epic scope. The Count of Monte Cristo will be long remembered by patrons of the Pioneer Theatre who negotiated for years to bring this show to America and are justifiably proud of being the first.  The box office has told us that this show is selling out at a record pace, so be sure to get tickets before it ends May 21st.

The Count of Monte Cristo, Pioneer Theatre Company

May 6 – 21, 2016

Prices vary upon day and section–ticket prices range $40-$62, plus $5 if day of show. Call or go on line for times and prices. 801-581-6961

https://tickets.pioneertheatre.org/TheatreManager/1/online

On the University of Utah campus, 300 South 1400 East, Salt Lake City. Free parking off 4th South near the theatre.

7:30 pm Mon – Thurs, 8:00 pm Fri & Sat, 2:00 pm Saturday matinees

Rush tickets available; call the box office for details.

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Wasatch Theater Company’s Stage Kiss is Delicious

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stage kissBy Joel Applegate

Theater goers have become too sophisticated for escapism. The mirror has become transparent to the audiences of this new century. While we accept the given conceit of a piece, we then fall silent as a pin when the actors reveal who they really are: Humans telling a story. The sets may be fake, the story even absurd, but in Wasatch Theatre Company’s production of Stage Kiss, the actors could not have been more real.

On the bare set of a stage audition, the nervous energy of our lead actress, the fragile confidence of April Fossen’s “She” aka Ada, reveals an actress facing her maturity; questioning what is left of her future.  All the marks of a disaster present themselves: late to the audition, asking too many questions, admitting to not knowing the piece – in short, the actor’s nightmare revisited. Ms. Fossen strikes such a true chord with the “minor humiliations of life” that we wince with her. Still, first audition jitters give way to an energy inside the Rose Wagner Studio that is so right for this play. Director Mark Fossen bridges both the unnatural nature of 4th wall theater and the reality of actors’ lives with the seams barely showing.

The accidental meeting with Ada’s old lover at the first read-through of a new play unsettles a life she had settled for. Reality blurs as the former lovers must play lovers. Neither “He”, aka Johnny, played by Daniel Beecher, nor Ada is too happy about the casting. Mr. Beecher is so clear in his focus and intentions, and together with Ms. Fossen, they are attentive and awkward as they rehearse a terrible play called The Last Kiss. Inevitably, the former lovers become entangled again.The script is bad; the acting is tortured. As Johnny notes, “It’s a bad sign when a play is written by three people.” Nevertheless, how deliciously earnest are these actors’ attempts at the play within the play.

stage kiss 1 Sarah Ruhl’s script is indicative of a playwright who knows the tropes of theater only too well.

Packed with humor throughout, in Stage Kiss, Ruhl winks at the synthetic absurdity of plays and playacting. As if to emphasize the point, most of the actors in this uniformly excellent cast play dual roles.  Ann Cullimore Decker as the director feigns indulgence; she’s a little unctuous and even sly; “I’ll play the pimp.” Testifying to Utah audience’s admiration of her storied career in theater, Ms. Decker was cast despite the fact that the role was written for a man.

Throughout the performance the sense of faux reality is still so clear, that when the actors as themselves come to grips with their lives, and the inherent pretension of their profession, the shift between worlds is fascinating. I was captivated by a sense of both reality and irony as Ms. Fossen relates a Buddhist parable about, of all things, a ghost.

Our theater has become so Brechtian – modern theater is always reminding you that you’re watching something. But at the same time it touches reality in so many different places, despite the artificiality that is no longer hidden from audiences. In that sense, the art of WTC’s Stage Kiss thoughtfully succeeds in reflecting our lives.

This play contains Adult Themes and Language. Recommended for more mature teens and older.

April 30th – May 14th Thur, Fri & Sat at 8 pm, Matinees at 2 pm on May 7th, 8th and 14th

38 W Broadway, Salt Lake City, Utah 84101

Adults $20 General Admission Seating ~ Box Office: 801-355-2787 On Line: http://arttix.org/

Tags: Mark Fossen, Sarah Ruhl, April Fossen, Daniel Beecher, Anne Cullimore Decker, Tristan Johnson, David Hanson, Ali Kinkaid, Brenda Hattingh

The SCERA’s Saturday’s Warrior is a Nostalgically Modern Prodution

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SaturdaysWarrior_11x17 Poster_OLBy MH Thomas

Opening night. Saturday’s Warrior. As we sat waiting for the show to begin, the SCERA theatre began to fill with families and older couples. Clearly, this was an event. A revival of Saturday’s Warrior in the middle of the Utah Valley. Classic.

Music from the 90s (fast forward twenty years from the original) plays in the theatre and the sounds of young children surround us. We were a bit wary of all the young ones in the seats, but, as my companion noticed, the children were generally more attentive than the adults. The show is fast moving and full of music that holds the attention of young and old alike.

As the show begins, a darling little girl (Annalie Johnson) with a sweet voice intones the iconic lyrics, “Who are these children coming down?”. It is a lovely way to start the show. The scenery and lighting (Elizabeth Griffiths) make this moment one of great expectation for what is to proceed on the stage.

Director, Jeremy Showgren, did a fine job of casting talented singers. The ensemble, consisting of singers of all ages, is strong enough to keep up with the main characters. They harmonize well together and add to the overall musical strength of the show.

The set is effective, thanks to the design of M’Liss Tolman, but large and heavy to move around. Kudos to all (including children) who quickly make the changes. Not an easy task to create a number of different locations on one small stage.

When my children were young, they used to watch the video production of the show and act it out at home. The girls all wanted to be Pam. Pam (McKenna Hixson) in this production does not disappoint. Her voice is beautiful and her presence emotionally gripping. Her relationship with her twin brother, Jimmy (Tanner Perkins), feels very real and natural. Perkins portrays the personality of a moody teenager with skill. His voice, both solo and in his duets, is impressive.

sw2It is great fun to see all of the Flinders family live on stage. So many have seen the production on VHS over the years. Alex Chester and Ashley Ramsey head up the Flinders family as parents to eight lively children. They portray the joys and frustrations that come with such a task. The children are real children and not models of perfection. The middle children (David Johnson, Isabella and Cole Hixson, Bo Chester) add the humor that only middle children can. As Julie, Kelsea Kocherhans sings well and shows a good balance between humor, earnestness and ditziness. Her solos and her duets with Tod (Alex Pierson) are very well done. Emily is the youngest and is the one who opens the show.

Saying that Elder Kestler (Chris Rollins) is high energy would be an understatement. He is definitely a contrast to his subdued companion, Elder Greene (Eric Taylor). Cheesiness is an integral part of this show. The scenes performed by these elders are the ultimate in cheese. They are comic relief personified.

sw3This musical is a charming stroll down memory lane for so many of us. It is serious, funny, cheesy and emotional. The cast and crew handle this show in a way that shows respect to our nostalgia. Well done to all. I’m thinking I need to see it again.
When: Friday through May 7 on Mondays, Thursdays, Fridays and Saturdays at 7:30 p.m.
Where: SCERA Center for the Arts, 745 S. State St., Orem
Tickets: $12 for adults and $10 for children ages 3-11 and seniors
Info: scera.org, (801) 225-ARTS

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Nearly everybody don’t write down essays for one existing. You may shouldn’t anticipate that the initially drafts are going to be awesome. All suffered authors realise that the high quality comes out as a result of revision. Should your essays have effort (and doubtlessly, you will find living space for enhancement – it is just how this stuff works) then we will show you in which the conditions lie, to help you fix them!

Be aware that you will be probably to create a a lot less-sore critique period when you commence with the Application Accelerators prior to publishing your drafts – therefore we also advocate viewing the MBA job application instruction accessible for your classroom, extremely. These options will let you realize what the institutions want and the way to present yourself better.

The Facts

This is certainly our very early-winter discounted price with regards to your primary investment!

This typical Essayinspect review service is made up of two passes by in one filled collection up to 5 essays firstly MBA course. Which means you be able to Draft 3, which happens to be generally “performed” for many people. This common completely full-fixed features your complete profile within the review article. Remember to obtain and request about attaching on other essays in case you have more resource you wish to get covered formula is organic . step by step reviews of the cheapest essay writing services to select the a person reviews on EssayInspect verify a majority of these reviews of essay writing service for your classroom. Basic turnaround of maximum 3 enterprise weeks applies to this specific service while keep in mind we often make sure you returning better than that; expedited calculating can certainly be integrated on.

Comfortable process to get a great expect – order essay ESSAYINSPECT

Each involves a two-place operation:

Initial write assessments: Noted-up drafts in Message, aiming out spelling/punctuation-category blunders, along with substantial in-sections comments over the posts, along with

An independent say, an individual on every one essay, explaining good and bad points in opposition to what this school is looking for.

Then, rechecks: Once you improve your drafts to feature the feed back, you obtain a secondly significantly greater-quality recheck with designated-up/commented Term docs (no distinguish survey on rechecks).

The EssayInspect is good for all academic institutions precisely where your software would be 4 or fewer essays (there’s a a lesser amount of-extravagant option for taking your Harvard essay reviewed).А surcharge may be needed for educational facilities like INSEAD, For example and any other university which has a outrageous level of essays. See the Support Frequently asked questions for a way specified schools’ essays are dealt with. All drafts should be submitted together with each other like a establish (that means, handed in at once, at least one essay for every data); any write that’s ten percent within the school’s maximum wordcount is susceptible to additional fees.

Essay reviews must be fulfilled within two months of get; nevertheless you should really try to post your materials for examine as quick as possible, especially if our company is nearing the application form output deadlines. Typical turnaround is 3 home business occasions nonetheless we constantly seek to revisit testimonials more rapidly than that; turnaround moments differ radically in line with up-to-date quantities while you upload. If these drafts are now being published during the Extensive Essay Offer, in which case you will relish a lot faster turnaround situations anytime you can. Concern Evaluation finalizing may very well be obtainable for an additional expense (usually $100).

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This assessment is made for essays first school only.

For those who purchased the Harvard essay, you definitely will upload a essay for two rounds of critique. Each and every write is usually at most one thousand terms. If your essay is higher than to limit, you will need to as well make the grade down prior to when publishing it for overview, or you may well buy a long evaluate for $100 per almost every supplementary 250 text. A separate charge is essential for 1st drafts as well as any pursuing drafts that will be overlimit.

Should you picked up the normal our product for almost any college. You would possibly send in a single essay for all of the school’s current collection of important questions, along with an non-obligatory and reapplicant essay, up to five essays absolute. Should the classes incorporates a “decide one such concerns” then that has been a particular essay. Additional essays posted will not be analyzed. All essays need to be of reasonable span (approximately ten percent overlimit). Any submitting that exceeds these restrictions could be governed by additional fees. We are going to not assessment an array of versions for similar essay concern or some other essay selections. If a faculty helps you to select involving a lot of information, you can not present drafts for each niche as part of this offer. Your application methodology has to be your very own new.

This choose is non-transferable to many people and also subscription cannot be expanded not having repayment associated with the supplemental amount.

For essay review service paid for stand alone:

Reimbursements can be found provided no drafts are presented for critique.

– If sought after in just two days of choose, a full reimbursement within the investment price is for sale.

– If asked once 2 days of obtain before the registration runs out, a reimbursement a reduced amount of $100 service fee is available.

No return can be obtained for partially applied expert services, nor if requested as soon as the monthly subscription expires.

Feedback

All essay reviews are presented in creating; no telephone or email message aid can be found. For starters-write remarks consists of marked-up drafts in Microsoft Word and a individual record, a particular on each essay reviewed. Rechecks, for products that encompass them, are designated-up drafts only.

We have been rendering essay assessment solutions. We all do not guarantee to improve almost every spelling fault or sentence structure trouble, even though we shall talk about at least your first occurrence of such mistakes. It’s under your control to generate your essays suitable.

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