The Desert Star’s “Captain American Fork” is Heroically Funny

capt american forkBy Scott Phillips

Last Saturday, my family and I went to the Desert Star Playhouse located in Murray to see their original production Captain American Fork: the Worst Avenger. The Desert Star Playhouse has a long history of providing entertainment to Murray and the Salt Lake Valley dating back to the 1930’s.

If you don’t know about this theatrical jewel, you are missing out. Their parodies and spoofs blend the production’s story with local humor performed by great talent. In old-fashioned style, each show is followed by an “olio,” doing fun musical numbers to end the evening of entertainment.

Captain American Fork, the Worst Avenger opens at Salt Lake’s ‘Hero-Con’ where “Zion Man” and “The Homemaker” are looking to recruit their newest member to the Guardians of Utah Valley. Captain American Fork, along with his ward Bingham Copper Man, is selected from among the ranks of hopeful heroes and together they face off against the nefarious Cougar to protect the good citizens of Utah Valley.

Rick Miller plays an excellent albeit bumbling Captain American Fork accompanied with his ever quirky sidekick Bingham Copper Man played by Jacob Barnes. Together with Zion Man, played by Matt Mullaney and The Homemaker, played by Ashley Haslam they join in comedic escapades against Zion Man’s arch enemy the Cougar played by Hillary Carey. Their hilarious hijinks are covered by an intrepid social media reporter, Tennille (get it? Captain and Tennille?), played by Brittany Shamy.

This is acting in its truest form. The cast interact with the occasional comment from the audience and ad lib with often hilarious results. The script is sprinkled with humorous references to current events and pop culture with a leavening of good-natured poking of fun at life in Utah; for example Zion Man uses his cape (the Zion Curtain) to protect people from seeing evil doings. Tennille, who is playing off of her Spanish heritage, ad libbed a joke about American Fork wanting to build a wall and making Spanish Fork pay for it, which wasn’t in the script, This threw Captain American Fork for a loop because he wasn’t sure how to react to it other than laughing and then turning to the audience and saying “that wasn’t in the script!”

Costumes by Lynn Funk and Lee Daily were colorful and fun. Choreographer Allison Cox got her cast moving, and this is important, because there is so much music in Desert Star’s shows–it has to be accompanied by artistic and fun movement.  Artistic Director Scott Holman took playwright Edward Farnsworth’s script and made the show an absolute blast.

Seating is at tables in a tiered floor arrangement, which allows every seat a good view of the stage performance. Each table receives a complimentary basket of popcorn and audience members have the option to order dinner items including pizza, burgers, wraps and finger foods like nachos with an assortment of cake, ice cream, floats and streusel for dessert.

As mentioned above, each show ends with a musical olio, where the play’s cast members perform several musical skits. The olio performance is excellent and provides an entertaining encore to the main performance.

My family thoroughly enjoyed their experience at the Desert Star Playhouse. My 6-year-old was entertained and there were enough subtle jokes and playful pokes at life in Utah to keep my wife and I focused on the dialogue which can be overshadowed at times with the entertaining and varied props and background which offers its own visual subtext to the performance. The best thing about the actors at the Desert Star is that they add Lib based on how the audience is reacting to them. Each showing for every play can be a unique experience; that’s what makes it so entertaining.

Captain American Fork: the Worst Avenger runs through June 3 on Mondays, Wednesdays and Thursdays at 7 p.m.; Fridays at 6 and 8:30 p.m. and Saturdays at 2:30, 6 and 8:30 p.m.

The Desert Star Playhouse is located at 4861 S. State St., Murray with tickets ($15-$25) available for purchase by calling the box-office at (801) 266-2600 or online at desertstar.biz. (Note: Get your tickets quickly. These shows sell out fast!)

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The Grand Theater’s “Hairspray” is a Grand 60’s Party

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By Andrea Johnson

My husband and I have attended various events at The Grand Theater, and it was fun to return to see The Grand Theater’s production of Hairspray.  Full Disclosure:  I was an assistant director for Hairspray, and I have seen the production additionally in a couple of different venues, including the film versions.  I love this show, and I love to see it done well.

Hairspray is a coming-of-age musical set in the early 1960s in Baltimore, Maryland, and revolves around the life and dreams of Tracy Turnblad, a teenager with a hair bump almost as big as her dreams of singing and dancing on a local TV studios teen dance show.  The pursuit of her dreams is not a smooth one, and along the way she encounters the fears of her mother, the ridicule of the reigning teen dance queen, and lots and lots of prejudice and bigotry.  Tracy faces down all of them with the support of her parents, her best friend, and all of the people who are drawn to Tracy because of her passion for equality and her desire to just be recognized for the talents she possesses, despite her presumed physical constraints.  She makes many friends and gains many allies on her journey, giving that same support in return to them.

Hairspray began as a non-musical film produced in 1988 with Ricky Lake as Tracy Turnblad, but was then reworked in a musical form in 2002, produced on Broadway, and garnered 8 Tony Awards along the way.  It was then redone in the musical form as a film with John Travolta starring in the traditionally male role of Tracy’s ample mother, Edna Turnblad, and Christopher Walken as Tracy’s fun-loving father, Wilbur Turnblad.

 

As my husband and I arrived for the show Friday evening, we found plenty of close and free parking on the east side of the theater.  The east entrance of the theater is very clean, light and modern, and signs direct you around to the west side of the Salt Lake Community College building to the theater box office and lobby of the theater, which is definitely of an earlier era.  Our seats were near the front and, by the familiarity and conversations of the patrons around us, right in the middle of the season ticket holders.  There really isn’t a bad seat in the house.  The theater itself is large and open, complete with a balcony and a breathtaking proscenium.  The seats are comfortable and appropriately spaced.  The contrast of the old and the new was definitely felt as the show started.  The non-profit semi-professional theater group is funded by generous donations, and has used these donations to create a technologically advanced theater experience housed in a beautiful old setting.

The show opens with “Good Morning, Baltimore,” with Tracy waking up and starting a new day.  Tracy, played effortlessly by Emily Woods, sings through the town on her way to school.  Ms. Woods has a lovely vocal quality, clear, pure, and easy on the ears.  Her characterization was on point from the start and never wavered.  It was a delight watching her journey.

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Next, we meet Tracy’s mom, played exquisitely by David Hanson (this role is typically played by a male with a large stage presence), and discover quickly Edna’s sharp wit as well as her crippling fears and self-deprecating issues.  Mr. Hanson chose to keep his natural voice for Edna, avoiding affectation, which I enjoyed greatly.  Later scene, we meet Wilbur Turnblad, Tracy’s dad and proprietor of his own gag gift and whoopee cushion emporium, played by Stephen Sherman.  Wilbur and Edna have a particularly loving and tender relationship, but I missed it early on.  We are asked to suspend reality in accepting that Edna is actually a woman, and I would have liked to see more interplay between Wilbur and Edna early on, and that needed to be initiated by Wilbur.  Later, we were able to see the full manifestation of their relationship in a charming performance of “You’re Timeless to Me,” but it just made me wish that the repartee had been there sooner.  I would have really enjoyed that expression of affection and gentle teasing earlier.

Tracy’s best friend, Penny Pingleton, was played by Elise Groves Pearce.  As is the nature of the beast of playing younger than your years, I felt that Ms. Pearce’s character read a little too mature.  I would have really liked to see more immaturity and naivety early on, so that I could enjoy her journey as well.  In the later scenes, especially as she interacts with Seaweed (the boy that makes her heart skip a beat) the move from naivety to knowing would have been more pronounced.  I felt like I didn’t get to see her evolve.  Conversely, Seaweed, played by Tristan Johnson, was almost too shy and uncomfortable in the early parts of the show, where I would have liked to see more confidence, but he managed to find his groove by later scenes.  I am not sure if this was a character choice, or just a nerves issue, but either way, “Without Love” in the second act was a particularly stellar performance from Ms. Pearce and Mr. Johnson, and I cannot express how enchanting it was to watch.

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Early in the first act, we also meet the Teen Council, including their stars, Link Larkin (played by Sky Kawai) and Amber Von Tussle (played by Madi Cooper), and Amber’s overbearing mother, Velma Von Tussle (played by Mandi Barrus).  Mr. Kawai was also a joy to watch.  His journey from privilege and status through questioning and fear then into the final action of supporting his true love, Tracy Turnblad, and finding his bravery was sometimes painful, often touching, but very real.  I enjoyed taking that journey with him, and I admit, he sucked me right into his world.

Ms. Cooper and Ms. Barrus both exuded the arrogance that comes from their position, and I was particularly impressed with Ms. Barrus’s portrayal.  Playing an antagonist is sometimes difficult when it goes against your personal nature, but Mr. Barrus created a malevolent foil to push Tracy in her journey.  Kudos to her for being brave in being horrid.  Ms. Cooper did a fantastic job of dancing horribly, well.  Again, the trouble of playing younger felt like an obstacle she could have pushed past more, especially after she is dumped by Link and she starts to feel like her world is collapsing.  I would have loved to see more immaturity for “Cooties,” considering the amount of grade-school insults that song contains, and it would have been completely appropriate in the context of her world being up-ended by someone who she has always been told would never be better than her.

The host of The Corny Collins Show, played expertly by Aaron Ford, was a stand-out for his complete immersion in the part.  Solid talent, solid character, and never missed a beat.  Mr. Ford was smooth and flawless.  Bravo.

A quick note on the ensemble: PERFECTION.  I adore shows where the ensemble is a moving, adaptable, complementary backdrop for the action.  In scenes with the Teen Council, Detention, PE, the Platter Party at Motormouth Maybelle’s, all of the show actually, the singing was on-point, dancing on-point, characters on-point.  Delightful and de-lovely.

Speaking of Motormouth Maybelle, the “Negro Day” host of The Corny Collins Show, she was my standing ovation.  McKenna Jensen gave me a taste at the Platter Party in “Run and Tell That,” and blew me away with her soulful rendition of “I Know Where I’ve Been.”  She commanded the stage whenever she was on it, and her mouth opened wide and strong as she built confidence for Edna in “Big, Blonde, and Beautiful.”  Stellar performance.

Under the direction of Jim Christian, with Jessica Merrill as choreographer, and Derek Myler as musical director, the show was a delight to watch and a pleasure to attend.  The totality of the show, from the tight blocking/scene changes/choreography, all the way to the excellent sound and light quality, and amazing costumes, sets and props, was a masterpiece in the immediate acceptance of this suspended belief and the age-old adage that the mark of an excellent tech crew is the lack of notice.  My husband remarked on the way home that he wasn’t even aware of any scene changes in the first act, and the ones he noticed later were not uncomfortable to sit through.  I mentioned to him that I was well into the first act before I remembered that I was reviewing the show and needed to make some notes.  I was quite literally sucked in.  I still didn’t take many notes, because I didn’t want to break the spell.  This is a well-done show, from beginning to end, and any notes I have made are somewhat nit-picky.

This show is a great family show, date night, or just a wonderful evening at the theater.  There is some innuendo, but nothing blatant that would need explaining, and if kids don’t get the joke, they wouldn’t miss anything for content.  As a further note about the jokes, there are several references to cultural and historical items of the times, and enhancing the theater experience for teens, tweens, millennials, and maybe even Gen X could include a quick Google/Wikipedia search of: Khrushchev, Richard (Dick) Burton and Elizabeth Taylor, Jackie Gleason, Sammy Davis, Debbie Reynolds and Eddie Fisher, Wilt “The Stilt,” the Gabor sisters, Green Stamps, and Gina Lollobrigida.  If you don’t want to do that much research, just an awareness of “separate but equal” may spark a great conversation about the struggles of the early 60s against current themes of bullying, prejudice, fear as a motivator, and inclusion/exclusion.  Like Maybelle warns, “There’s a whole lot of ugly coming at you from a never-ending parade of stupid.”

Hairspray runs 2-1/2 hours with intermission, and there are bathroom facilities and a snack bar near the theater lobby.  Do not miss out on this show!  It runs Thursdays, Fridays, and Saturday evenings, with matinee performances on Saturdays through June 3rd.  If you are interested in maybe finding a deal on admission, check out the theater’s modern addition of “The Grand Theater” app, which is a free download for iOS or Android.

THE PARTICULARS:

The Grand Theater Company presents

Hairspray

Book by Thomas Meehan and Marc Shaiman

Music by Mark O’Donnell

Lyrics by Marc Shaiman and Scott Whitman

Salt Lake Community College Grand Theater, 1575 South State, Salt Lake City, Utah

Performances Thursday through Saturday through June 3, 2017.

Evening performances at 7:30 PM.  Matinees Saturdays at 2 PM.

Tickets range from $8 to $22, depending on show times and seating.

Contact information – Call 801-957-3322, or online at grandtheatercompany.com.

Pray You Get a Chance to See OPPA’s “Nunsense”

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By Merijo Holley

Davis County is in for a treat with the opening of its newest addition to the arts, The On Pitch Performing Arts (OPPA) Theatre located at the Pitched Perfectly Studios. The new theatre is a 60-seat venue located just off West Hill Field Road. The theatre shares real estate with the Pitched Perfectly Voice Studio, where many of the actors are trained for their debut.

OPPA’s first production is the light-hearted religious comedy, Nunsense. Nunsense has been performed by hundreds of casts since 1985, and the musical holds the prestigious title of Off-Broadway’s second longest running musical. The author, Dan Goggin, adapted the play from his Nun-themed line of successful greeting cards. The play has spawned several sequels and been the showcase for some of Broadway’s most famous voices. Nunsense is the story of the Little Sisters of Hoboken, New Jersey who will be sharing their talents and stories in a variety showcase.

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OPPA’s Nunsense opens to a 1950’s Diner theme, and the nuns introduce themselves and announce to the audience that they will be borrowing the set from the musical Grease from the convent’s  8th grade musical. The emergency fundraiser and variety show is needed to collect funds to bury some of the convent residents, who died in a mass food poisoning. The fundraiser participants (and stars of the show) are Mother Superior Mary Regina (Carolyn Stevens), a former circus performer who cannot resist the spotlight; her competitive but dignified rival, second-in-command Sister Mary Hubert (Charlene Adams); Sister Robert Anne (Becky Evans), a streetwise nun from Brooklyn; Sister Mary Leo (Seante Nielsen), a novice who is determined to be the world’s first ballerina nun; and wacky, childlike Sister Mary Amnesia (Amanda Larsen), who lost her memory when a crucifix fell on her head.  With a cast of personalities like that, what could possibly go wrong?

The audience becomes engaged from the beginning, when the nuns tell their curious
story in song. The first musical number, “Prayer,” draws the audience in as the five sisters create a magical harmony. It’s not long before they break out in to hilarious little side stories of playing BINGO with the cheatin’ Relief Society Sisters and inviting audience participation in a quiz.

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Carolyn Stevens as Mother Regina  looks every bit the part, and has perfected the Irish accent. Her voice is strong and her humor was real in her interactions with the audience. She stole the show in a scene in which she becomes intoxicated on contraband essential oils.

Charlene Adams brings Sister Hubert to life. I am told she is the vocal coach for the studio, and her vocal performance was a treat. She takes the stage proudly proclaiming, “I am Holier than thou” and belts out a performance worthy of a much larger professional theater.

Becky Evans adds to the fun factor as Sister Robert Ann. This nun just wants a solo in the show, and she will do anything to prove she is worthy of the spotlight. Robert Ann engages the audience pre-performance and never breaks character. I admit I was so taken by her character that when she explained the Grease set before curtain, I really believed the 8th grade drama class had just finished rehearsal!

Amanda Larsen as Sister Amnesia was comic bravery. She possesses the rare Lucille Ball- like physical comedy that plays well on the smaller stage. The program does not provide a bio, but I would bet she is theatre-trained.

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Seante Nielsen’s sweet young Sister Mary Leo, beautifully shows this nun’s dream to show her love of the Lord by becoming the first ever Ballerina in a Habit.  I would have loved more volume and projection in her voice, but wow, this girl can dance. Clearly, her dance skills had to be showcased, and director Brandon Stauffer found some staging liberties that worked to show her off, toe shoes and all. Musical director Cariel Goodwin gets these nuns all singing as if they are the heavenly choir.

Nunsense provided a fun-filled evening at the theatre. The OPPA version included local religious humor, a little History of Catholic Saints and their causes, one-liners that will make me a hit with the 5th graders in my life, a reminder that sometimes a trip to your dream job will land you in a Hoboken Convent, and the lesson that nothing is ever as black-and-white as it seems.

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On Pitch Performing Arts presents Nunsense

May 8, 2017, 07:30 PM – May 13, 2017, 07:30 PM

Pitched Perfectly Studios – 1558 W 700 N, #8 Layton, UT, United States

Tickets are $15 adults, $12 children and seniors

385-209-1557

 

The Pioneer Theater Company’s “The Will Rogers Follies–A Life in Review” is Filled with Nostalgia, Spectacle, and Delight

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By Jennifer Mustoe, with Amanda Berg

Long before Guardians of the Galaxy and La La Land, from 1907 to 1931 to be exact, Ziegfeld Follies delighted Broadway audiences with remarkable, fun, spectacle-filled entertainment. Long before Dave Barry or even Jon Stewart, Will Rogers (1875-1935) gave America and the world an opportunity to see themselves with humor, warmth, and respect–even when he was poking fun at them all.

In the Pioneer Theater Company’s latest offering, The Will Rogers Follies–A Life in Review (Revue), you will see both of these entertaining options, Ziegfeld Follies and Will Rogers, in one lovely show. The Pioneer always does an amazing job, but this show will knock your socks off. And not in the current in-your-face, gritty, sometimes shocking way that many of today’s plays and musicals are presented. The Will Rogers Follies is just delightful, with enough humor to keep you laughing, enough love story to give you all the feelz, enough wisdom to give you a thing or two to ponder, and enough spectacle to dazzle you. Something for everyone.

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The story is very simple–it tracks the life story of humorist Will Rogers, who began his career doing rope tricks and riding a pony. His cowboy appeal advanced him to Vaudeville and eventually The Ziegfeld Follies. However, there was much more to Rogers and he eventually wrote a newspaper column, books, starred on a radio show and starred in movies, at first in silent films, and then talkies. He traveled all over the world and was loved by all. He truly was adored by millions and millions of fans. Much of his humor was poking fun at politics and politicians, but it was done in such a way that he never really offended them.

Much of The Will Rogers Follies is just that–Will making funny comments, first opening a current paper and making witty comments, and then from The New York Times from the 1920s and surprise! The news was similar to today and his jokes were just as funny now as they were then. The show summarizes bits of his life, but after reading on Wikipedia about Rogers, if the show represented his whole life, I’d be at the theater still. He was a hard worker and his list of accomplishments in his 55 years is admirable.

Each number was a Ziegfeld Follies extravaganza–complete with dancing and singing by the many New Ziegfeld Girls and the four Wranglers. Each of these ensemble performers were marvelous, but their beauty and dazzle was that each was part of one big whole. They were costumes, movement, music as background but so much more.

The costumes were outstanding. Honestly, I was dazzled to the point of Wow. Costume Designer Patrick Holt makes us SEE the Follies. I recently visited NYC and did not go see the Rockettes. One only has so much time. Seeing the New Ziegfeld Girls and the Wranglers in all their glory makes me feel like I haven’t missed a thing.

Often led by Ziegfeld’s favorite, played by Chryssie Whitehead (who’s so cute and funny I just loved her), the ensemble numbers were filled with energy and we loved them all. Our favorite was The Campaign–“Our Favorite Son.” Who would have thought so much could come from a line of people sitting down and just clapping and hitting their knees and hats? This isn’t coming out right. It’s just intricately, perfectly great. When you see the show, you’ll see what I mean. Director/Choreographer DJ Salisbury had his performers moving perfectly in each of the many (21) numbers and this is a BIG Song and Dance Show. Music Director/Conductor Phil Reno honed his singers and players to perfection. This is a Musical with a capital “M.” A rather fun Utah tribute is The Voice of Mr. Ziegfeld (the players look up at the “booth” above the balcony) is played by our own Donny Osmond.

The leads are Norman Large as Will’s father, Clem Rogers. Frankly, if there’s a villain in the show, it’s Clem. He is unsupportive of his son to the point of unkindness. Large does a great job showing some of Clem’s humanity and since Clem dies during the show (he dies during Will’s lifetime in other words), Large is brought back as other characters–contributing to one of the running jokes that Ziegfeld is cheap. Very funny. Will’s four children, Will, Jr. (Kimball Stinger), Mary (Ava Hoekstra), James (Nathan Eliason), and Freddy (Mila Belle Howells) all were very professional, but somehow, up on that big stage, they looked so small–and it was very effective. They were little kids looking small.

Wiley Post (Jim Bennet) has some of the funniest lines–but I grew to dislike him–the character, not the actor. If I tell you why, it’s a spoiler if you don’t read the Wikipedia link I added. Bennet has great timing and it was fun that he did his entire performance from a seat in the audience.

Another fun highlight in the show is there is a real life roper/whip specialist, AJ Silver. Boy, can he crack those whips and fling those lassos. This is the stuff that Rogers started with–these same tricks. I can see why people flocked to his shows. It’s pretty impressive.

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Will’s wife, Betty Blake, “Blake” to Will, is played with heartwarming splendor by Lisa Brescia. She goes from small town farm girl to loving wife and mother and even gets to do the token Ziegfeld vamp song atop a piano. Brescia is perfection, her voice is that of an angel. The synergy she has onstage is lovely. Again, that word lovely. Brescia is all that’s beautiful and kind in this sea of pretty girls and hunky men of the ensemble.

Will Rogers is played with folksy splendor by David M. Lutkin. Lutkin is not one-quarter Cherokee, as Rogers was. Lutkin is tall and Rogers wasn’t particularly tall. But it doesn’t matter one bit. Lutkin has embraced and embodied Will Rogers–from Rogers’ down-to-earth, wry manner to some pretty awesome rope tricks. Throughout the show, all I wanted to do is get onstage and talk with Will Rogers. He was very real to me. Even now as I write this, I found myself wishing I could have met Will Rogers. Lutkin creates this hero with such integrity and precision, I’m still somewhat overwhelmed.

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Even though the show could end sadly, it doesn’t. In the end, Rogers’ witticisms and popular sayings (“I Never Met a Man I Didn’t Like” is the final number) bring him to us so he lives on in this delightful show.

The only sad part of this show really was the audience was half-empty. This shouldn’t happen. This show is rated PG and everyone will love this show. Bring your kids! Bring your grandma! Bring your classes, teachers! You will learn something in this show and you will love every minute of it! There are two more weeks of performances. Gather some loved ones and see The Will Rogers Follies–A Life in Review. It is a breath of fresh air right now, and we could use it–just as Rogers was in his life.

Pioneer Theater Company, Simmons Pioneer Memorial Theatre, The University of Utah, 300 1400 E #205, Salt Lake City, UT 84112  

Tickets: are $40-62, 5 dollars more if you buy the day of the show.

May 5 TO May 20, 2017

  • 7:00 p.m. Mondays – Thursdays Evenings
  • 7:30 p.m. Fridays and Saturday Evenings
  • 2:00 p.m. Saturday Matinees

(801) 581-6961

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UT Rep’s Kiss of the Spider Woman is Stingingly Gorgeous

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By Jennifer Mustoe (with Mike Smith)

I have seen many of the professional productions in Utah, and California and Broadway, for that matter. When I say that UT Rep’s Kiss of the Spider Woman is of the finest same caliber, I realize the magnitude of what I am saying.

No, they don’t have a large set like big money companies have. But in the space they have, at the Sorenson Unity Center Black Box Theater in Salt Lake City, their large spiderweb in the middle and movable bars that go from the front to the back of the platform are perfectly fine.

And let me say the word perfect right now and just know that this is the word I will use throughout this review. Kiss of the Spider Woman is as near perfect as I can imagine. In speaking with director Johnny Hebda after the show, he said that he knows he gathered a remarkably able and talented cast, but he expected perfection from them, and the result is an amazing performance. Because I was in UT Rep’s first production, Side Show, which Hebda directed, I know him to be a firm but inspiring director.

The show itself is lovely–if you can call a horrible Argentina prison in 1975 lovely. But the messages of love, friendship, loyalty, and redemption are poignant and remarkable. Valentin (Juan Periera), a revolutionary imprisoned for seditious behavior, is put into a cell with Molina (equity actor Kenneth Wayne), a “queen”, whose homosexual behavior and obsession with movies that star Aurora drive Valentin to hatred. (Molina was in prison for being inappropriate with a minor.) Aurora’s movies are a motif–Molina uses his memories of these movies to block out the horror of the prison. He describes the movies to Valentin, and this system of avoidance gradually calms Valentin, and a friendship between the two men begins to form. Molina’s care and love finally win over Valentin, and the result is heart-breaking and beautiful.

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The ensemble consists of prisoners, wardens, Gabriel (a friend of Molina’s from his pre-prison days), Casey Matern as Molina’s Mother, and Karli Rose Lowry as Valintin’s sweetheart, Marta. I spoke to one of the prisoners after the show and said, “You were great, in that you didn’t stand out.” Hebda wisely used the prisoners as a moving background, in sync and uniform.

Erin Royall Carlson plays Aurora/The Spider Woman. She appears throughout the show, sometimes as The Spider Woman, and sometimes as whatever character Aurora plays in movies. When movies are being performed, there is also a movie playing above the set. This wasn’t needed and I mostly forgot it was there. It isn’t needed because what is happening onstage is electrifying.

The three: Periera, Wayne, and Carlson are as about perfect performers as I’ve ever seen. As I watched the show, I actually was leaning forward, as if I could absorb even more of what was happening onstage. I am not sure I can even describe it. The music! The costumes! The dancing! Honestly, there was very few flaws.

Music Director Anne Puzey, in charge of the uber talented singers and the live band, has created a marvelous musical experience for the audience. Apparently, the original score had 30+ instruments, and Puzey pared it down to perfection to five instruments. I can’t even imagine how a larger orchestra is needed. The band is to the right of the stage and the sound is just right. Not too loud or too soft. Sometimes the music can drown out the singers and such was not the case here.

Costume Designer Michael Nielson did a fantastic job. The Spider Woman’s sexy black outfit, complete with fishnets, was dazzling. But all her costumes as The Spider Woman and Aurora were over the top amazing, too. I especially liked the be-feathered skirt for “Morphine Tango.” Very fun. Very Chita Rivera. Molina’s costumes, all about scarves and a lovely robe, were poignantly and pathetically sweet. He lives in a prison, after all, but has managed to get a variety of lovely costumed pieces, including a tiara and very dangly, gaudy earrings. His diamond ring sparkles when nothing else in the prison does.

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Except Molina himself, played achingly amazing by Kenneth Wayne. Molina does much of his story in song, and Wayne’s strong, sweet voice is perfect for the role. His acting, too, was powerful to the point that it hurt.

Juan Periera’s Valentin is also beautiful to the point of pain. His loyalty to his cause, his humility as he learns to trust and then to love Molina, his aching for his sweetheart Marta are lovely and emotional to experience. I use the word experience here, simply because I was so caught up in the show, I didn’t just watch it. I was immersed in it.

Erin Royall Carlson is stunning. She was so true to her character and her voice is so powerful and her dancing so sexy and athletic and beautiful–well, she needs to be seen to be believed. She sings while lying down dying (as Aurora.) She is LYING DOWN and still can belt out her notes.

Choreographer Ashley Gardner-Carlson created an energetic and inspiring panorama of movement. When the prisoners were onstage, even though some had solo performances, they worked as a whole and it was very effective. I was exhausted after some of the numbers–those men never stopped moving and it was all very athletic and graceful.

The stand out number for me musically was “Dear One” with Molina, his Mother, Valentin, and his sweetheart Marta. These four never missed a note. The harmonies were inspired. I’d have preferred to see some movement in this number, but understand why Hebda blocked it the way he did, with all performers standing still, and the loved ones on opposite sides (Mother and Valentin on one side, Marta and Molina on the other.)

My only real criticism of the show is that it is quite long. It seemed like the first act would never end. And this is only a criticism because I needed a break to catch my breath and calm down a little. Seriously, this show transfixed me so much I was sort of over-wrought, but I mean this in the most complimentary of ways.

Note: this show is not for children. Hebda wisely did not overplay the violence, but there is a lot–this is a prison in South America. There is some homosexual behavior, but it is very understated. There is some profanity. That being said, I don’t believe this show would be inappropriate for theater-loving teenagers who would like to see something intense, beautiful, and flawless. It is a lesson in outstanding theater. And of course, adults shouldn’t miss this show.

Kiss of the Spider Woman by UT Repertory Company

April 21st to May 7th 7:30 PM $17-$20

Sorenson Unity Center
1383 S 900 W, Salt Lake City, UT 84104

 

 

The Covey’s Anne of Green Gables is a Lovely Tribute to Spring

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By Mary Garlitz

I was happy to have the chance to go see Anne of Green Gables this evening.  I, unlike just about every other person in my generation, did not read the series by Lucy Maud Montgomery. However, I did watch the famous version starring Megan Fellows and thoroughly loved it.  (I promise I am a voracious reader!)

That being said, I am happy to report that this telling of the story was thoroughly delightful.  Directed by Lynne D Bronson, she kept her actors true to the characters and yet let the actors really make each delightful character their own.  My daughter, who happily accompanied me, has read the books and really felt the same way as I did.

Anne of Green Gables tells the story of young Anne Shirley who is adopted by accident by a brother and sister, Marilla (Heather Jones) and Matthew (Lon P. Keith), who were looking for a boy to help them with their farm work.  The story goes on to show Anne’s interaction with the town folk of Avonlea and how she eventually wins them all over and goes on to become the daughter that the siblings needed, though they didn’t know it.

It is dangerous portraying such a beloved and well-known character and being able to live up to expectations without mirroring what everyone knows.  I really feel that Anne, played by Miranda Maurin, did an excellent job of straddling that line between her own genuine take on the character and emulating the expected role.

Jones’ Marilla Cuthbert was equally engaging and was very true to the no-nonsense brusque side of this spinster woman while bringing a nice softness to the character.

Keith’s Matthew Cuthbert was a delight to watch his interactions and reactions to Marilla.  By the end of the show, I was looking with eagerness to see his facial expressions to the final bonding scene between Marilla and Anne.

Equally delightful were Rachel Aylworth as Diana Barry (Anne’s good friend) and it was fun to watch her character development as the two girls mature together.

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Hats off to Bryce Fueston who, according to the program, jumped into the part of Gilbert Blyth two days before the show opened.  He blended seamlessly with the cast and did an excellent job in the role.  One would never know that he had not been rehearsing with them the whole time.

Also props to the other two cast members Catherin Bohman and Debbie Maurin.  We were near the end before my daughter realized that they had both been playing three other characters each.  That’s acting!

While not a super technical show, it ran very well.  Scene changes were smooth, especially for an opening weekend and sound and lighting were seamlessly integrated into the show.

I would recommend this show for most ages and especially families.  Young children (below 7) would probably become restless before the end.

Anne of Green Gables

Covey Center for the Arts, 425 Center St, Provo, UT 84601

(801) 852-7007

April 28 through May 20, Thurs-Sat and Mondays
$16 Public
$14 Student/Senior/Military

 

Wasatch Theatre Company’s Dinner is a Meal I’d Never Want to Eat From a Play I’ll Never Forget

dinner14By Jennifer Mustoe and Craig Mustoe

I’ve been in a lot of plays and I’ve attended and often reviewed many, many more. There are some performances (like many movies) that I see and discuss a bit and then never think of again. Such is not the case for the current thought-provoking production of Dinner, written by English playwright Moira Buffini. Because last night’s performance had a gathering (“Just Desserts” plus pizza–two nods at the play’s text), hubs and I had the opportunity to talk about the play with the actors and director and with some of the audience members. I even talked to the woman taking the tickets. Hubs and I talked about Dinner on the Trax ride to our car parked at Salt Lake Central, on the ride home, and this morning. We will be talking about it for a long time. Dinner is that kind of show.

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It is difficult to give a short summary of the show, so I will include the themes as we go. As the name suggests, it is about a dinner party, given by the beautiful socialite Paige (played with brittle humor and rage by Stacey Jenson) in honor of her philosopher husband Lars’ (Nicholas Dunn) best-selling self-help book, Beyond Belief. The book’s title alone should tell you that this play is serious (supposedly), but darkly comedic as well–very dark. Paige gathers a group of people to celebrate Lars’ success: the artist Wynne (a self-proclaimed erotic artist(?)) who was supposed to be escorted by her politician lover, but he had just left her for a woman named Pam; the scientist, Hal (Daniel McLeod), accompanied by his “news babe” second wife Sian (Alyssa Franks); the unexpected guest Mike (Carlos Nobelza Posas), whose van crashed in the ditch and Paige insisted he stay to dinner to fill out her table; and the silent waiter (Gordon Dunn.)

Hampered by fog, a metaphor (which just about everything is in this play), the guests trickle in, harried by the weather and being late for the dinner. Things ensue. Angry things, painful things, shocking things, hilarious things. But the humor is often the ouch kind. None of it is lighthearted. I was in an acting class years ago and remember a teacher explaining how hard it is to do biting humor and how hard but wickedly funny it is for the audience. Dinner, with its remarkably talented cast and director, has this in abundance. Every character gets their humor. And every character has a secret.

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That’s really all I want to say about the plot. I’m concerned that no matter what I say, it’ll be a spoiler of some kind. But really the meat of the play is about themes: what is it we really believe in? Do we believe in God? According to Lars, we don’t or shouldn’t. But then Paige said she’d love it if Jesus came to dinner. Does Lars believe what he wrote about and made so much money on? Then why, when things got very tough, didn’t he practice what he preached? Do we believe in love? There is none between long-married Paige and Lars and they spend the entire dinner party bickering then all out howling and swearing at one another. Do we believe in honesty? Then why did Mike do what he did when he crashed the party? Do we believe in beauty transcending all? Then why did Wynne talk about who were haves and have nots in England? Do we believe science can answer many of our questions? Then why did Hal speak so condescendingly about his chosen profession? Do we believe news is just necessary bits of information to be shared easily to make people feel better? Then why did Sian keep so many secrets to herself, from the way she demeaned Hal’s suicidal first wife to her other secret? And what was the purpose the entirely silent waiter? What was his character trying to say to us without speaking a word?

As you can tell, there are many themes in Dinner. This is all to the good. As much as we’ve discussed this play, with every conversation, we discover more.

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The set, designed by Kit Anderton is so simple–and brilliant. The entire show takes place in the dining room, around a table. So we can see each dinner guest’s face, the back of the space is floor to ceiling mirrors. Those people with their backs turned as they sit at the table can be seen in the mirror. I. Loved. This. The table is dressed with fancy table settings–this is a big deal.

Because Paige is known for her fancy, much sought after dinner parties, when she decides to serve really disgusting, inedible food, we the audience as well as her guests know something is terribly wrong. The reasoning behind her food choices are explained with such wicked delight by Jenson that we somehow see the “correctness” of it. Just how did she help us understand primordial soup, live lobsters brought to table, and frozen waste for dessert? Jenson’s biting, controlled, furious realism.

As I said, there is fury in this play–lots of it. Everyone has anger and anguish. Each character explodes at one point. Alyssa Frank’s tirade about being a sexpot is heart-rending and validating. Lars’ fierce defense of his book and his complete hatred for his wife cuts you in half. So sad. So pointless. So hurtful and hurting. Hal’s guilt about his first wife and his apologetic view of his profession made me the saddest–I felt his pain deeply. Mike’s description of his second-class life, his philosophic brilliance that goes far beyond Lars’ superficiality is poignant and devastating.

Each actor performed brilliantly. I was able to speak to all of them at the gathering afterward. Each told me that they felt very cohesive and had put everything into this production. Director Jim Martin, whom I also spoke to, wrung everything out of these actors and I could see the dedication, passion, and slight exhaustion after this performance. It was brilliant. One more thing–all the actors did a great job with British accents. I’m something of a dialect snob, so this meant a lot to me.

Let me say that this is not a play for children–far from it! This play may not be for teenagers. There is a ton of profanity and the discussions, topics, and furious, profound emotions are best reserved for adults. However, I suggest every adult who loves theater and wants a show to talk about for a long time should see this show. I insist.

Wasatch Theatre Company is celebrating their twentieth year and is very excited about their long-standing success and their upcoming season. As always, because they are a non-profit, they are actively asking for donations and support. This is a theatre company that deserves this support.

If I have anything negative to say about this show, it’s that the relatively small black box theater had far too many empty seats. This show should have a packed audience every time it plays. Dinner has a relatively short run, so don’t delay.

Dinner by Wasatch Theatre Company

April 21-May 7, Friday and Saturday 8:00 PM, Sunday 2:00 PM

Wasatch Theatre Company
Performing at The Rose Wager Performing Arts Center
138 West 300 South, Salt Lake City

Call (801) 446-5657 for information.

Ticketing Information:
www.arttix.org

email: wasatchtheatre@hotmail.com

 

 

Terrace Plaza Playhouse’s Sister Act is a Heavenly Production

By Sonya Anderson

Sister Act at Terrace Plaza Playhouse in Ogden is heavenly from the start and divine to the finish.  From the opening song to the finale, this play is full of fun.  I overheard someone say at intermission, “I’m laughing my guts out!”  I agree.

But first, let’s talk about the theater and employees.  This is a small, homey theater with a great staff.  They were friendly, welcoming, and helpful.  I attended on opening night, April 21st, with my 15-year-old daughter Ashlyn and her friend Savanna.  We immediately felt at home when we entered.  We enjoyed seeing the many pictures of past casts in the lobby and noticed that many of the patrons were welcomed as friends who had been there before.   There is a concession stand with reasonably priced candy and drinks.

The history of the theater begins 25 years ago when Beverly Olsen, a longtime Wasatch Front performer and producer, decided that she wanted a theater of her own.  She and her husband, Blaine found the opportunity in the form of a neglected, former grocery store in Washington Terrace, UT.  Together with their family and friends, they transformed this grocery store into the Terrace Plaza Playhouse.  Although Beverly passed away in 2005, her husband and daughter, Jacci, carry on Beverly’s legacy through their care of the theater.  The theater was officially renamed Beverly’s Terrace Plaza Playhouse (BTPP) in her honor.  BTPP was recently designated as a 501(c)(3) nonprofit institution, which means that they can now accept tax deductible donations to support the Playhouse.  If you are looking for a worthy cause to donate to, I would encourage you to consider donating here.  The theater is comfortable but in need of renovations, and supporting a local, family business that provides so much enjoyment to the community and has such a long history, is a cause we can all feel good about contributing to.  Donations will gladly be accepted at the Box Office.

Now, on to the show.  If you’ve seen the movie, Sister Act, written by Joseph Howard, then you know the story.  For those who haven’t experienced the hilarity of this show, here’s a recap.  When up-and -coming disco diva, Deloris Van Cartier (Olivia Lusk), witnesses a murder committed by her agent/boyfriend, Curtis, she is put into protective custody.  She is placed in a convent, which is the last place that anyone would think to find her.  She clashes with both the lifestyle and the strict Mother Superior, but bonds with the friendly nuns.  She uses her musical talent to inspire the currently un-heavenly choir, and soon they are singing like angels and drawing people to the struggling convent.  However, her cover is blown by the publicity that the choir receives, and a hilarious chase ensues.  The nuns come together in a strong sisterhood to protect Deloris, aka, Sister Mary Clarence, and discover that they are stronger than they ever imagined.

Lusk was born to be on stage!  She captured the audience with the opening song, “Take Me to Heaven,” and never let us go.  She has a powerful voice and a commanding stage presence.  She really shines on the high parts while singing, but seemed a bit out of her range on some of the low parts.  She is a convincing actress.  I was a little worried that I wouldn’t enjoy anyone besides Whoopi Goldberg as Deloris, because that is a big habit to fill.  But I soon connected with Olivia as Deloris, and never gave another thought to Whoopi.

Eddie, the good cop who has had a crush on Deloris since High School, was hilariously played by Casey Stratton.  He was both Ashlyn and Savanna’s favorite character.  He was the perfect combination of  brave and terrified, self-depreciating and cocky, unsure and in control.  His performance of “I Could Be That Guy” was both tender and hilarious.  He was at home on the stage and so endearing that you couldn’t help but love him and hope he would get the girl at the end.  (You’ll have to go see the show to find out if he does.)

Curtis, the main “bad guy”, played by W. Derek Hendricks. His cohorts, Joey (Andrew Oliverson), Pablo (John Richardson), and TJ (Erik Hawkins) were the villians that we all loved to hate.  Each of them played their part perfectly, and provided lots of slapstick comedy.  They have all got great moves and voices.  Their spotlight songs, “When I Find My Baby,” and “Lady in the Long Black Dress,” were crowd favorites.

Pat Lusk was perfectly cast as Mother Superior.  I felt her frustration at having to leave behind long-held ideas of how things should be done, and felt of her desire to just do God’s will.  She was perfectly pious, humorously human, and entirely enjoyable as the leader of the nuns.

The nuns–what can I say about them to accurately portray how amazing they were?  Even being all dressed alike, they were each individual stars with their own personality.  Sister Mary Patrick (Melissa Platt) is open, friendly to the point of being goofy, and endearing.  Sister Mary Robert (Katie Jones Nall) starts out as timid as a church mouse, but ends up with the courage of a lion when she finds her voice.  Sister Mary Lazarus (Sherri Folkman) was hilarious, and her rapping skills are spot on.  Each of the nuns was amazing.  Brilliantly played by Breanne Hendricks, Carla Zarate, Susan Wilhelm, Emily Richards, Rachel Duffin, Margaret Simon, Ginny Spencer, Holly Lowell, Heather Holliday, Kelsey Radle, and Jamila Lowe, they were the icing on the cake.    I had no idea that nuns could move like they did in “Sunday Morning Fever.”    “Good to Be a Nun” got everyone involved and “Raise Your Voice” almost made me want to be a nun. Many of them played multiple roles and excelled in all of them. The music director is Misa Findlay and her singers really did a great job!

Matt Burt seemed a bit nervous as Monsignor O’Hara, but shined as the DJ/Monsignor and brought a lot of humor to that scene.  Dale Bowman played a quadruple role of Ernie, a cab driver, bar patron, and cop and did great in all roles.  Even these smaller roles were important to the overall success of the play.

Director Leslie Richards should be proud of the production.  The set (Leslie Richards) were minimal, giving the stars the opportunity to shine. Sets were changed quickly and with no disruption. The costumes (Jamila Lowe (who was the fabulous wig specialist), Jim Tatton, Tami Richardson and Jacci Florence were religiously wonderful. Choreography by Ginny Spencer was great–and added to the entertainment.

This play runs at Beverly’s Terrace Plaza Playhouse, located at 99 E 4700 S in Washington Terrace, from April 21st-May 27th. Shows are Friday, Saturday, and Monday nights starting at 7:30 PM.  Ticket prices range from $9-$14.  You can visit their website at http://terraceplayhouse.com for more information and to purchase tickets.  This play is quite family friendly, with a few swear words and some very mildly suggestive dance moves.  The audience was a good mix of all ages, and all seemed to enjoy it.  Next up is Annie, starting on June 9th, so make sure to plan to attend that one, too.  After seeing the caliber of Sister Act, I am a fan and look forward to returning in the future to enjoy other quality productions.

 

Anything Goes at UVU is De-Lovely

By Larisa Hicken

Anything Goes at UVUThe UVU Department of Theatrical Arts for Stage and Screen’s performance of Anything Goes in the small Noorda Theater in Orem, Utah is delightful.

Anything Goes is a classic Cole Porter masterpiece of silly romance and comedy that allows you to escape into the early 1930s on board an ocean liner. Anything Goes is full of cheesy one-liners and double entendres as characters try to talk their way out of a tight spot. The show is definitely not kid-friendly material, but there’s nothing too over-the-top risqué in this production.

This silly love story is about Billy Crocker who has fallen in love with a debutante, Hope Harcourt, whom he met in a taxi. When he discovers she’s boarding the same London-bound ship that his boss and friend Reno are boarding, he sneaks aboard the ship himself. Unfortunately, Hope’s mother has arranged an engagement for Hope to a stuffy British aristocrat named Lord Evelyn to restore the family fortune. With the help of other passengers, including a couple of barely disguised gangsters, Billy seeks to capture the heart of his dream girl – all without getting caught by his boss.

Since all of this hilarity takes place on board an ocean liner, the production team has a real challenge in squishing this typically huge show into the small Noorda Theater at UVU. The set (designed by Stephen Purdy) isn’t lavish, but it’s pleasantly functional and provides some nice levels for story telling.

The director, UVU resident artist Rob Moffat, uses the space well and does a nice job keeping the story moving forward at a quick pace (almost too quickly during a couple of scene transitions). The character interactions are delightful and clever. In particular, the songs “You’re the Top,” and “Friendship” stand out as terrific examples of mini stories that make the silly characters more tangible and loveable.

Excellent blocking is supported by choreography that is quite “de-lovely.” Choreographer Raymond Interior has created movement that exactly matches the capability of the dancers and adds a lot of dazzle to the musical numbers. The show starts right off with the Charleston which actually looks easy when performed by this talented cast. The much anticipated tap number “Anything Goes” is high-energy fun and “The Gypsy in Me” is simply spectacular.

The dancing and characterization in this production are closely matched by the great singing. For the most part, every actor in the show has a nice voice and is fully capable of knocking the audience over, (as proven by the ending notes of the show) but sometimes the actors seem to be just a little bit too “careful” in their harmonies. A touch more confidence would make great singing into fantastic singing.

Anything Goes at UVUThe role of Reno Sweeney is played by Briana Hulme. Briana is a beautiful young actress with a strong stage presence and a lovely voice. At times she has some trouble switching between her different vocal registers, but she is a powerhouse singer and has terrific chemistry with Tyler Fox as Lord Evelyn Oakleigh and Ardon Smith as Moonface Martin. She portrays a sincere and sensitive Reno with a lot of spunk.

Carter Walker plays an endearing Billy Crocker. There are a few moments where Carter could “cheat out” a bit to face the audience more, especially in the beginning of the show. His facial expressions are awesome, but sometimes hard to see in the first few numbers. His vocal inflections and characterizations are definite strengths. His singing voice is rich and strong, and once his vocal range expands a bit more, I expect this actor to be a regular on the local stages.

Carter has some really cute moments with McKell Peterson as Hope Harcourt. McKell plays a demure and graceful Hope and her sophistication is just right for this role.

Standout performances are given by McKelle Shaw as Erma and Tyler Fox as Evelyn. Both actors deliver high-caliber, polished and professional performances. Their comedic timing is flawless and their physical movements are hilarious. Both actors have exceptional voices and facial expressions and keep the audience enthralled every moment they’re on stage.

The actors are supported by excellent costume design by Lara Beene. It’s not every day you get to see actors take a bow wearing only their unmentionables, but it almost seems natural in this show because the costumes are so perfectly aligned with the characters and story.

If you can find your way through the construction, this show is worth the ticket price. Anything Goes at UVU is a delicious show with delightful actors and de-lovely storytelling. You’ll get a kick out of this fun production!

Anything Goes performed by UVU Department of Theatrical Arts Production

TICKETS
$12.00 – $16.00
Seating commences approximately 30 minutes prior to performance. No one under the age of 8 admitted, including babes-in-arms..

DATES
Fri. April 14, 2017 – Sat. April 29, 2017

LOCATION
UVU Noorda Regional Theatre

DIRECTED BY
Rob Moffat and Amanda Crabb

The SCERA’S My Fair Lady is a Loverly Way to Spend an Evenin’

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By Jennifer Mustoe, with Juli Robinson

My Fair Lady is a musical based on George Bernard Shaw’s Pygmalion–the story of a Cockney flower seller who gets a complete make-over by a misogynist confirmed bachelor Linguistics professor. It is a love story of sorts, but what really is fascinating is as the flower seller, Eliza, learns how to speak, she learns about herself, as well. She blooms like the flowers she sells. The professor, Henry Higgins, begins to grow as well, as much as can perhaps be expected in the Edwardian era the in which the story takes place.

Director Chase Ramsey creates a lovely, familiar panorama of sound, costuming, sets, and passion. What is most striking in this show is the fabulous ensemble cast Ramsey has assembled. Each one had amazing character–facial expressions, movement, interaction with others, and timing. It lent so much color to an already fascinating and delightful show.

Eliza Doolittle, played by Mindy Smoot Robbins, has the biggest challenge in that she begins as a Cockney lie-dee (sound it out) and becomes a poised, well-spoken lady. Robbins did a fabulous job–her singing, dancing, and character were all spot on.

Henry Higgins, played by SCERA favorite Marvin Payne, was as blustering and bullying as we expect and love. His voice is great and he commands the stage (and Eliza) whenever they are together.

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Col. Pickering, Higgins’ colleague (sidekick), played by Marc Haddock, was a great foil for Payne’s Higgins.

Costumes by Kelsey Seaver were magnificent. This is a costume heavy show and she outdid herself. I couldn’t wait for each scene to see what hat each character would wear. Of course, the black and white scene was dazzling.

Music director DeLayne Bluth Dayton did a fabulous job. Each song was spectacular. I didn’t hear a missed, flat, or sharp note. The blending of the ensemble voices was especially wonderful. I found this even more true during the opening “Loverly” when there was an a capella bit–no clinkers whatsoever. It started the show so well, I couldn’t wait for each number after it.

Scenic artists scenic Sarah Thornton, Rebekah Campbell, Naomi Smith, and Aubrey Smith gave the actors a beautiful space to work in. I was transported to Edwardian England and it was lovely. (Or should I say loverly?)

The SCERA tech crew, lighting and sound, always do a great job and this performance was no exception.

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There were a few stumbling lines, as can happen on opening night, but they were picked up quickly.

The only ‘negative’ I can say in this review is the show is long. Be ready to be there a while. For this reason, I would suggest you bring kids age 12 and up, especially those who are big musical theater fans. But there is nothing in this show that is offensive or inappropriate for all ages and in fact, this is a great show for families.

My Fair Lady

The SCERA Center for the Arts (indoors) 745 State St, Orem, UT 84058

801-225-2787

Appril 14-May 6 @ 7:30pm on Mondays, Thursdays, Fridays and Saturdays $10-$12