“Peter and the Starcatcher” at the Zig in Ogden is Sprinkled with Magic!

By Jennifer Mustoe

I got a little teary after Ogden’s Ziegfeld Theater’s production of Peter and the Starcatcher, a play about how Peter Pan becomes the crowing, flying leader of the Lost Boys and battles the sociopathic Captain Hook. Does Peter Pan mean something to you? He does to me—he’s part of my childhood. I have been trying to see Peter and the Starcatcher several times and just didn’t get it together, but wanted to see how it compared to the YA novel by Dave Barry and Ridley Peterson I enjoyed years ago when it first came out. I had preconceived notions of what I thought this production would be. I was right maybe 10% of the show.

And I’m thrilled that I didn’t know what I was talking about.

I’d never been to the Ziegfeld Theater in Ogden, but it’s a clear, lovely drive coming from Spanish Fork. As I walked into the theater, swarms of folks were in the rather cozy lobby, some buying tickets, some buying fresh popcorn. Yum! The staff is super nice and in fact, during the (rather long) intermission, someone from the staff brought around a teeny tiny treasure chest and gave a pirate treat (a small coin or tattoo) to the children. And me. Yes, I got a tattoo, too. By intermission, these kids were sold on the entire pirate experience and that little treasure chest got all the kids glowing. But I’m getting ahead of myself.

Based on the YA novel, Peter and the Starcatcher places 13-year-old Molly (Jessica Lewis) (or is it 15? Inside joke—see the show to figure it out) on the slower vessel, Neverland, with a trunk of full of mysterious treasure. It looks like sand, but it isn’t. It’s Star Stuff (aka pixie dust—but this is never said. We who know Peter Pan stories know it, though.) On a faster vessel, the Wasp, sails Molly’s father, Lord Astor (David A. Boice) who has his own treasure chest filled with jewels. In come pirates, led by the ridiculously funny Black Stache (Trent Cox) who may have one of the best performances going on in the state of Utah right now. Trunks are swapped, havoc ensues.

Along with the pirates are three boys: Prentiss, played by a very funny Tyler Howard, Ted, played by a great physical comedian Gabriel Armstrong, and Boy, heart-warmingly played by Wyatt Welch, orphans all, who end up on the ship as slaves and are made to sit in the dark and eat worms. Yes, worms. Ick. These three characters are perfect together. The symmetry and synergy are unbeatable. I thought this was a musical and when I saw the live band at the back of the stage, I was sure. But Peter and the Starcatcher is only a sort of musical. It starts with a lot of exposition—telling the story. For the first few minutes, I felt anxious, like, when are they going to start singing? Then, it didn’t matter. I was involved in the show. However, the fabulous musicians (Piano/conductor Jonathon McDonald, Percussion Richard Marsh, Synthesizer Kyle Lawrence) provide background music throughout—which is marvelous. They play as you walk into the theater, too, and it is sublime. And there are a few ensemble musical numbers and the fish-turned-mermaid piece is absolutely delightfully hilarious. Kids and adults were clapping and whistling during this one. What the cast can do with fans and costuming that makes one piece of stretch fabric down one leg look like a fish fin is fantastic. Kudos to Costume Designer Kelsey Nichols.

Peter and the Starcatcher moves very, very fast—there’s a lot of story in this one little play. And director Jim Christian has his players moving, moving, moving all the time. Not in a weird, frantic way, but one that helps tell the story and keep us up to speed (small pun intended.) Timing is fabulous in this show and every cast member needs to be applauded. I’ve been to too many shows that l-a-g-g-e-d and I thought I would die of boredom. Not in this show. At. All. Thank you, to the director. This could easily have been a train wreck. The Zig’s Peter is anything but.

The cast is small—twelve players in all—and many play multiple roles, which confused me slightly, but not overly so. Everyone was wonderful, great synergy onstage. But shout-outs must go to Welch, whose last moments on the stage brought me to tears. No, I’m not telling you what he did. Go see it. And you probably won’t cry. It’s sweet, not sad. Welch is fabulous—good energy, sweet, vulnerable, strong, active. I bought him in this role completely. Lewis’ Molly is so sweet and brave and strong. Yes, Lost Boys, she’s the leader. This show is so filled with Girl Power all wrapped up in the one female role in all those males and the one brilliant actress in this group of great actors.  Heavily bearded Andrew Cole’s Mrs. Bumbrake makes you laugh just from his physical look—but he’s a great actor, too. The role is written that a man play this character and Cole is darling. Big, hairy, using a falsetto voice (and a Scottish accent as the mermaid Teacher—also great), Cole nails this part.

Cox as Black Stache is so crazy good, I am hoping this review compels you to get to Ogden and see this show. Cox is an amazing comic actor, with deftness, finesse, timing, physicality to die for. I could go on and on. I will be following this actor to see him as often as possible. My husband and I recently went to Utah Shakespeare Festival and watched Guys and Dolls TWICE. Our favorite actor in that show has no more talent, timing, or presence than does Cox. Yes folks, he’s that good.

The set (Caleb Parry) was serviceable in the small space and several rolling pieces are used wisely and effectively. I loved the big golden lake effect with a parachute and a golden light. LOVED. This show is heavy with lights. Often, lighting is just so mundane that you don’t notice it and that’s good. But Peter has so many light cues, so many lights and it was amazing. Parry was the genius behind this technical aspect of the show, too.

I’m not telling much of the story in this review. This is on purpose. Each story detail is delicious and I’m not giving anything away.

About the kiddos. The show is long (two hours?) and there were some very restless toddlers in the audience. This show is too good. Get a babysitter and come and enjoy it without having to worry about the littles. I would think kids over six or seven would like this show, but it isn’t a kids’ show, per se. There is one swear in it (damn, I think) and the mermaid number has only one female mermaid but all the rest only dress like female mermaids. Or mermen. Not sure. It’s funny, but just a heads up. The kids were laughing hysterically. There is a small snip of a scene where Boy is shown to be whipped. It is short and has no real sound effects or him in agony at the beating, but he does cry afterward. If your children are tender-hearted, take them out for a potty break during this scene or leave them at home.

I live a long way away and see lots of shows. If I could make it work, I’d go see this one again. I didn’t see Peter and the Starcatcher when it came around three different times. I am so remarkably glad I waited until I got to see it at the Zig.

The Ziegfeld Theater presents Peter and the Starcatcher by Rick Elice.                          Ziegfeld Theater, 3934 S. Washington Blvd., Ogden, UT 84403                                   August 4-September 2, Mon, Fri, Sat 7:30 PM Saturday matinee August 26, 2:30 PM     Tickets: $17-20                                                                                                                   Call: 855-ZIG-ARTS / 855-944-2787                                                                           Facebook Page          Facebook Event

The Zig’s “Cabaret” in Park City’s Egyptian Theater is Brash and Beautiful

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By Joel Applegate

Cabaret is one of those musicals whose songs over the years have spontaneously looped themselves into my brain from the first time I ever had the pleasure of seeing the movie in 1972. The Ziegfeld Theater Company’s fearless production of the original musical Cabaret is something old and new fans of the show should not miss.

From the strong opening “Wilkommen” to the unnerving finale, the cast’s energy never lets up. The lead performances are vibrating with truth and skill.

The actor playing the Emcee owned the part without homage to any other previous actors in the role. Athletic and completely non-compromising, Joshua Samuel Robinson gave us a charismatic, raspy, powerful, committed performance – a butch pan-sexual you don’t want to mess with.

As Fraulein Schneider, Carol Madsen is clearly a veteran performer. She belts and whispers in her great voice, each moment of her performance sparkling with clarity. Madsen is key to what is different between the filmed and staged Cabaret.  What struck me was that this show is as much hers as it is the Emcee’s, with its relevance to racism and sweet elder romance.

In the stage show Sally is not the lead character – that really belongs to the Emcee – but we still get all of those great songs.  Kelly Tansey’s Sally has a beautiful voice with great control. This actor took to heart Sally’s realization that she herself is “mysterious and fascinating.” Tansey handles one of the show’s hits, “Maybe This Time” with brash defiance and smart staging. I felt in that moment that I really was at the Kit Kat Klub, the smoke (fake) rising into the heated spotlights. Also featured is Hailey Weeks, voicing an equally strong performance as Fraulein Kost.

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I regretted the Chorus didn’t have more to do in the second half, but they know their stuff when they get the chance. “Kick Line”, with choreography by Talese Hunt, is a naughty treat and they shine on the booming “Mein Herr.”

Director and scene designer Trent Cox made many smart choices. One was having the Emcee hang around in some scenes as an omniscient observer. As a set, the design worked very well; the Kit Kat Klub surrounds the world and not the other way around. And the costumer, Kelsey Nichols, overcame some challenging requirements in the second act.

A song that most people who have seen only the movie version of Cabaret missed, but will really enjoy, is “It Couldn’t Please Me More” with Fraulein Schneider and Herr Schulz (Kevin Ireland.) I was delighted all the way through. Madsen and Ireland were beautifully simpatico with each other in both their numbers, with “Married” supplying the sweetest moment in the show.

One of the most conflicting conundrums in musical theater is “Tomorrow Belongs to Me.” I was oddly disturbed by this beautiful tune at the end of Act I. It contains the power of propaganda masking a hideous secret. Half the audience couldn’t bring themselves to applaud as the intermission curtain fell. Neither could I. Don’t tell me this show is no longer relevant. It becomes timeless in that it warns of ever-evolving threats to self-expression and democracy.

How many meanings does the word savage have? Political – Musical – Social. It’s all thoughtfully embodied in this production of Cabaret.  I am not looking for agreement here, but I had a funny thought that Cabaret does not celebrate night club music – that’s not how this ends. It ends in an eternal and – one prays not – prescient warning.

You’d best see this before the Kit Kat Klub gets shut down on July 23rd.

{Bonus: The historic Egyptian Theatre is really a fun place to check out.}

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Note: Cabaret is not a children’s show and may not even be for tweens or teens. Please be aware that the content is adult in nature.

Ziegfeld Theater Company presents Cabaret by Christopher Isherwood, with music by John Kander and lyrics by Fred Ebb

The Ziegfeld Theater Company at the Egyptian Theatre, 328 Main Street, Park City, Utah, 84060

June 30, 2017 – July 23, 2017, Recurring: Recurring weekly on Sunday, Thursday, Friday, Saturday, Time: Thu-Sat at 8 PM, Sun at 6 PM

Ticket prices: Thursday  $35 / $43 / $55; Friday-Sunday $39 / $49 / $65, Tickets sold at the door 30 minutes prior to the show are $5.00 more. Ticket sales are non-refundable.

Box Office: Park City: 435-649-9371

Ziegfeld Theater Company855-ZIG-ARTS / 855-944-2787, Phone hours: Mon-Sat, 10 AM – 6:30 PM

Egyptian Theater Facebook page, Facebook Event

Ziegfeld Theater Company Facebook page

 

 

THE DROWSY CHAPERONE Delights Audiences at The Ziegfeld Theater

Reviewed by Michael Nielsen

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The lights go down and the MAN IN CHAIR (Tim White) prays in the dark, “Dear Lord, please let it be a good show…” And the fun of Musical Theater begins. When the lights DO come up, after a few more insights and thoughts from MAN IN CHAIR, we see him sitting in his comfortable chair next to an old record player… “Yes, records”… in a somewhat dingy apartment that fills the stage.

While no one is listed as set designer in the program, Ziegfeld Theater set constructors Brandon Bills, Erica Choffel and Quinn Kapetanov (also the theater’s technical director) have done a great job of filling the stage with essential apartment needs while leaving room for the action of the show, which is no small task when an entire musical is to be staged within the apartment. A nice touch to the set were the theater posters tacked to all the walls, immediately establishing the MAN’s love for theater. When telling people about THE DROWSY CHAPERONE, I am always tempted to say, “It’s just a good old-fashioned musical,” but in truth, it’s not. DROWSY opened on Broadway in May of 2006 and was nominated for 14 Tony Awards, winning 5 of them, including Best Book, Musical Score and Costumes. The costumes, unfortunately, were the weakest part of this production, but designer Becky Cole didn’t have a Broadway budget. She did manage to portray each character and stay within the era.

The show is a parody of American musical comedy of the 1920s. The story concerns a middle-aged, musical theater fan as he plays the record of his favorite musical, the (fictional) 1928 hit THE DROWSY CHAPERONE, which then comes to life onstage as he wryly comments on the music, story and actors. I love this show, and the Ziegfeld’s production has made me love it even more. I mean, what’s not to love? You have the excitement and glamour of the 1920s, the thrill of full ensemble musical numbers and a love story(s) complete with angst and suspense–well, musical theater suspense. After all, as the MAN says, “Whenever a character is in crisis, they just dance and sing–that’s the glory of a musical.” The Zig’s production makes you wish all of life was like that.

Director Trent Cox, choreographor and assistant director Kacee Neff and assistant choreographer Josh White brought the goosebumps of a  Broadway stage into the confines of a small apartment. They cleverly used the refrigerator as a main entrance for the characters. Characters also entered through doors, cupboards and closets. The Murphy style bed was transformed into a lounge chair and a bedroom, each time with the actor “riding” the bed as it was pulled down, then returned to the wall after the scenes.

Often reviews neglect to mention the people “backstage” who make the show work. In theater, it truly takes a village. One often overlooked, yet essential area, is stage management–the people who make the whole process run during rehearsals and the run of the show. Stage Manager Jessica Hilton and Assistant Stage Manager Chelsea Winters obviously ran a tight ship. There were a few glitches in the microphones, a couple of times it seemed they were just late in being turned on, but overall the technical aspects (sound: Samuel Coleman, Lights: Derek Walden – design, Chelsea Winters on board, Props: Kelly Wideman, Makeup: Alina Gatrell) were spot on, and accented the show well.

There are no weak performances, though some did shine through a bit stronger than others. Breann Johnson as Janet, has the pipes and dance moves to make us believe she could be a Broadway star. The Gangsters/Bakers (Matt Baxter and Colton Ward) provided laughs with their stylized moves and comic timing. Paul Calvo as Adolpho, the broadly characterized Spanish lover, was an audience favorite, shining in his scenes with THE CHAPERONE, played to perfection by Becky Cole. Ms. Cole has the stage presence, voice and comic timing needed to really make the title character shine. Lindsey Blackman as Kitty, the ditzy wanna-be star, also stood out with her consistent performance. Each character and the Ensemble (playing multiple characters) gave us moments of brilliance. I could list them all, (and wish I had the space to do so) but you will see their names when you head to Ogden to see the show.

Tim White, as MAN IN CHAIR, won our hearts as he guided us through this show, which we later find he never saw, but which changed his life. It did take a little while for me to warm up to him, but once I did, I was always anxious to hear his asides and insights to the “actors” playing the roles and how the show affected him. While relatively mousy, there were moments where White lost his reserve and showed his passion, and moments where he moved us, especially when he speaks of that special scene that he has “listened to over and over,” leaving us with quite a deep interpretation of life.

THE DROWSY CHAPERONE runs through the 28th in this intimate, well-managed theatre (everyone is so nice and welcoming), and, as MAN IN CHAIR says, it “DOES WHAT A SHOW IS SUPPOSED TO DO–IT TAKES US TO ANOTHER WORLD.”

For more information about the Ziegfeld Theater, visit http://www.theziegfeldtheater.com/

The Ziegeld Theater is located at 3934 South Washington, Ogden, Utah 84403. For tickets, call 855-ZIG-ARTS. The show runs Friday and Saturday nights at 7:30 PM until June 28th. Tickets are only $12/$15.