Rent: Utah Repertory Theater Company

Way, way back many centuries (days) ago, I caught Utah Rep's last evening performance of Rent.  They even went out of their way to make sure we had police escorts to leave the building that night.  I kid.  Ends up they faced their own true version of "Rent" because the entity renting them the building didn't get the odd's and end's properly straightened out and they were being "evicted" so-to-speak.  Thankfully, the police let this modern day version of "La Boheme" endure to the end.

First and foremost, I want to start a controversy with two words: Audience Interaction.
Love/hate.  Right?
For me, as an actor or an audience member, this always makes me feel uncomfortable.  I participate as instructed or prompted, either way, I just don't like it.  As an audience member, I go to a show to let the actors take me to another world so I can escape from reality and whatever burdens are weighing on my mind.  The last thing I want to do is interact with a person who isn't even a person I can ever talk with or associate with again - it is a character played by an actor.  I feel dread and panic - not knowing what to say or do...because if this person is acting, shouldn't I too?  Wait...no I shouldn't....yes I should...ugh.   As an actor, I wonder if that audience member feels the same way I do when an actor approaches me in the audience.  That being said, if audience interaction has to happen, this troupe did a fine job of staying in character.

I must have been really into the show (or freezing because the warehouse setting was brrrrrr), because I only made a few notes.

• Intro too long
• The entire cast entered on the number "Rent," but why?  The setting is in the apartment of Roger and Mark...are there just vagrants wandering in and out of their place? 
• The volume on the mics was overpowering and the chorus could not battle that sound.  The soloists were mic'd quite well, but then the chorus number seemed underwhelming because of the sound differential.
• Angel and Collins were absolutely adorable together!
• Mark was amazing, his pants were not
• Mimi's solo number had "single ladies-esque" backup dancers.  This was a cool production element, yet I can't help but remember the vision of this being Mimi's big "coming out" moment where she steals the show and we really learn who she is as a strong individual and the backup dancers distracted from her strength.
• Mimi's solo impressed me because she was dancing her tail off and wasn't winded in the least - way to go!
• The entire cast, ensemble included, are amazing soloists - each person continued to blow me away in their own unique style.
• Alex, Alex, Alex.  His voice could melt butter.  He continues to grow as an actor while his voice is what wins audiences again and again.
• I loved the ambition of the musical director with the new harmonies in the songs.  Some worked, some didn't.
• During La Vie Boheme, there was a very clever staging of a "Last Supper" scene - I dug it.
• The staging of "Without You" was touching and extremely well executed.  The choreography allowed each aids patient to leave the stage one by one throughout the song - leaving Angle in the end.  I loved the symbolism behind this vision.

I'll sum this up with the words of  Director and Choreographer, William Cooper Howell, "We cannot control what passions and feelings we are brought into this world with.  However, we can control what we do with the gifts and feelings we are given.  We have the power within us to change the world around us with our love and our light.  May you leave here tonight infused with the need to express, to communicate, at all times, for any reason.  Change is in your grasp.  No Day But Today."

Roger Davis - Trent English
Mark Cohen - Austin Archer
Tom Collins - Aleksndr Arteaga
Benjamin Coffin III - Sean Carter
Joanne Jefferson - Nneka Barcelona
Angel Schunard - Derek Gregerson
Mimi - Connor Norton
Maureen - Karli Rose Lowry
Ensemble
William Cooper Howell - Choreographer
Rick Rea - Musical Director

Side Show: Utah Repertory Theater Company

(please excuse any errors, I will make edits as the day allows - I wanted to get this quickly posted as soon as I finished) 

What do you picture when you think about a side show from days of old? 

Freaks?  Strong Men?  Contortionists?  Illusionists?  Siamese Twins?  Run-down surroundings?

You get them all at Side Show - Utah Repertory Theatre Company's premiere.

Keep in mind, when you enter any magic show or carnival attraction, part of you wants to be fooled with illusion.  We call this, suspension of disbelief.  Philosopher Samuel Taylor Coleridge explained, "If a writer could infuse a "human interest and a semblance of truth" into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative."  Take that little nugget and put it in your pocket when you see Side Show, you'll need it frequently.

Also, if you have a dark sense of humor, I forewarn you about the irony of lyrics such as, "We were meant to share each moment, beside you is where I will stay.  Ever more and always, we'll be one though we're two.  I will never leave you."   

Once we entered the intimate, tiny space of the Echo Theater, some "freaks" walked us to our seats.  We were greeted with the pre-show magical talents of  Elias Caress, which immediately created the atmosphere desired for a side show - that of a group of people gathering in a dark corner, intrigued with the mystery of what lies behind the curtain.

In this case, that is the mystery of the story of Daisy (Adrien Swenson) and Violet (Angela Jeffries) Hilton, Siamese Twins of eventual Vaudeville fame.  We begin at a local side show and watch them grow through love and loss to pseudo-fame through the help of Vaudeville agent, Terry Connor (Aleksndr Arteaga), his friend, Buddy Foster (Taylor Eliason), and the twins' best friend, Jake (Cooper Howell).  And that's really all you need to know.

A certain feeling of intrigue, discomfort, and confusion sets over you as the characters appear on stage.  Yes, you are supposed to feel this way.   The reveal of the four-legged woman rather shocked me, as did the impressively large strong man and the man who bit off a chicken head.  Bryan Cardoz's "The Boss," introduces the show in the smarmy and slightly perverse way that a villain should, yet his singing did not convey the same message as his words...needing more of a character or speak-sing voice to make up for a weaker register.

The sets are non-existent.  The first back-drop you see is incredibly...bad.  I spent awhile analyzing whether this was on purpose or not and I finally came to the conclusion that it is an intentional off-kilter design to help facilitate the exact awkwardness I felt.  That being said, I was very impressed by the quality of the programs, the publicity posters, the t-shirts, and all electronic publicity materials. 

Upon The Boss's introduction of Daisy and Violet Hilton, my first thought was a fear for their safety - not because of their horrible boss, but because the black, wheeled box they are placed upon did not want to move as much as the actors wanted it to move.  Second, their costumes confused me.  They were a featured act but were dressed in brown, burlap-like material with brown head wraps like Cinderella's days as a maid.  As the girls grow in fame, their costumes become fancier, explaining my previous confusion.  I think sets may have helped explain the situations more, however, as the show progresses, you understand more the choices for the minimalism.

My third thought?  WOW.  Swenson and Jeffries can put any songstress to shame.  Daisy (Swenson), with her illuminating smile and bright eyes is quickly established as the out-spoken flirt, while Violet (Jeffries) holds her posture and eyes just so as the shy sister.

At this point, we also hear more singing from all three male leads.  I can't say enough.  Each of them is fantastic in their own way.  Arteaga as Terry has a voice I wish could sing me to sleep each night and will cover your ear drums in velvet melodies.  His acting is not his strongest suit just yet, but I cannot wait to see where this young man goes.  Eliason as Buddy shines with his cheerfulness and pep, always the optimist and showing great range with his character's emotions near the end of the show.  "One Plus One Equals Three" particularly showcases his abilities as a triple-threat actor and was not only one of two toe-tapping (literally) numbers in the show, winning over audience smiles, but also my favorite non-twin number.  Howell as Jake may be the one who wins over the hearts of the audience members most as the faithful friend and hopeless love.  I had seen him in Parade at the Rose Wagner theater last year and found his performance commendable, but he has improved in leaps and bounds since then- I only recognized him because of his boundless energy and stage presence.  He has a rich, booming register that will leave you wanting more....and more.

The ensemble serves their purpose, were all fully committed, and were overall stronger than most community-theater level ensembles I have seen, however were over-shadowed by the immense talent of the leads.

Utah Repertory Theatre Company has more than a glimmer of hope at becoming what they want to be in regards to a higher standard of community theater.  But this makes me wonder - what exactly is a higher standard of community theater?  Director Hebda allowed a young lady with true handicapabilities to be part of this show...but would some of the more elite theaters in Utah have allowed participation?  I don't think they would.  There is a fine line regarding what is trying to be accomplished and I look forward to seeing what the future of this company brings.

In the talk-back session at the end of the show, we learned that Side Show was meant as an operetta and a lot of the dialogue had originally been song - further explaining the lyric-like, sing-songy dialogue and the frequent exposition singing about what each character is going to do next.    

I love writing for my own blog rather than another institution because it enables me to write how I feel most appropriate instead of being given strict guidelines or needing to be strictly "professional."  This makes mingling with the cast afterward a little easier and also gives me the inside-scoop point-of-view instead of just a reviewer who saw X, Y, and Z occurring.

I am thankful for this with Side Show.  Why? The doors opened fifteen minutes late and there were sound difficulties aplenty (one loud screech right after the phrase, "Are you deaf" kinda cracked me up) throughout the show, although none at critical points.  Come to find out, the sound board went out right before show time and the whole cast/crew had to scramble to make accommodations for a scenario of which there is no way to prepare.  Therefore, I did not mention any associated difficulties as they will be fully resolved for consequent performances.  Hats off to director, Johnny Hebda, for finding a quick solution and for the cast for all being so light-spirited. 

Side Show has intrigued me for years.  As a 16-year old girl, I remember watching Broadway Divas, Alice Ripley and Emily Skinner, belt out the words to power ballad, "I Will Never Leave You," during the Tony Awards.  I made my mother drive me 45-mintues to the nearest "Mommy go broke" store, aka Best Buy, to purchase the CD.   I remember dreaming, dreaming of the day I would ever see talent like theirs in person.  Through the years, I remember seeing ladies young and old alike attempt to conquer music from this show, only to fall short every time.

Ladies and gentlemen, Adrien (Daisy) and Angela (Violet), ever-so-humble, would fight me tooth and nail on this statement, but, off Broadway, you are not going to find a higher caliber than this effortlessly talented duo.  The trip to Provo was entirely worth it for these two alone.  Throw Aleksndr (Terry), Taylor (Buddy), and Cooper (Jake) into the mix, and I consider my time well-spent.

Yes, the show has weak points.  Yes, the show has some amazingly strong points.  No, the show is not the best quality I've seen in Utah.  No, it is by far not the worst I've seen.  Part of me longed for glitz and glamour, but the other part of me was fascinated by the bare-bones surroundings and this claustrophobic, semi-awkward setting because I imagine that atmosphere elicits the same feelings as a true side show.

If you are at all intrigued by the concept of the show and are not a self-proclaimed "theater snob," by all means, head to Provo and check out Side Show. 

Performances at 7:30pm on January 21, 24, 25, 26, 28, 31; February 1, 2.  Matinee at 2:00pm on February 2.

• $12 Adults, $10 Students/Seniors/Children, $8 for groups of 10 or more, $35 Family Pass (purchase at the door; limited availability)
• Do keep in mind extra time for Provo parking restrictions (there is a free parking garage across the street just east of University Avenue on 100 North) and take note there is only one restroom in the facility. 

Buy Tickets here with credit card or at the door with cash.

Midvale Main Street Theatre: Rent

Any Broadway fan will know that Rent changed the face of American musical theater - bringing in a new era.  I hold my head high and proudly say that Rent is also bringing in a new era for Midvale Main Street Theatre.  

All of my readers need to first know that Rent is not for the faint of heart, please be aware it is very suggestive and contains vulgar language...as well as an important message of community and love.

Speaking of community - not that this will make my thoughts on the show any more relevant - but I grew up performing with, including a 30-minute montage of Rent, Dan Rosenbaum.  Who is Dan?  None other than the man who performed the leading role of Roger Davis in the 2004-2005 touring Broadway production of Rent (watch him blow away "One Song Glory" here).  He also understudied the role of Radames in Aida.  I have performed parts of this show with a Broadway Roger.  Now tell me it is going to be easy to impress me when there is that to live up to.  

Straight from the theater's website, here is the summary of Rent: 
Midvale Main Street Theatre presents the modern rock classic that defined a generation, RENT by Jonathan Larson.  Based on Giacomo Puccini's opera La Bohème, Rent (the Pulitzer and Tony Award winning musical) tells the story of a group of artists in the East Village of New York City struggling with life, love, AIDS, and the impact they have on America.

As the show began, I heard the immediate whispers of my darling friend Leah fill my ears about Roger (Daniel Silva),  "He sounds just like Adam Pascal (the original Roger on Broadway).  He sounds just like him!"  

I could individually dissect each actor's performance, but I want to point out my three favorites:

1. Aleksndr Arteaga as Tom Collins.
This young man is phenomenal and blessed with the gift of natural talent.  I maybe gushed to him after the show (he is the most humble, grateful sweetheart, in case you are wondering) and he shared with me he has a mere couple of months of training under his belt.  This part is about as vocally challenging as a role can get and yet, as an audience member, you will never worry he's not going to send every note soaring through the rafters.  I am not exaggerating.  His version of "I'll Cover You" left half the audience in tears (you can see everyone wiping their eyes), and touches some place in the bottom of your soul where you rarely let that kind of vulnerability take hold.  He's breath-taking.  Which brings me to his counter-part.

2. Frank Castro as Angel Dumott Schunard.
I see Angel as the character that truly is an angel - the person who teaches love, unity, and acceptance to everyone, as well as living those principles.  Not to mention the comic relief.  Angel has sass and att-i-tude.  Every time I saw Castro enter the stage, I was filled with anticipation for what laugh I was going to get or what musical number with which my ears were about to be tickled.   Angel is also the character through whom vulnerability and the fragility of life are conveyed beautifully and tenderly.

3. Carolyn Crow as Joanne Jefferson.  
Ladies and Gentleman.  Wow.  This woman can blow the roof off the theater.  Every time she sang I just wanted to shout, "Amen!"  Her character is the lawyer straight-man to her romantic interest, and wild-child, Maureen.  At first, you see this plain-Jane laywer and you could easily dismiss the character.  But then.  Ohhhhh, but then.  She transforms every time she opens her mouth and you root for her.  In her duet with Maureen, "Take Me or Leave Me," you will find yourself rooting for team Joanne all the way and then screaming with applause as she exits the stage. 


I hope to find time to write more about this show but until then, let me just say...

Midvale Main Street Theatre has put on some great productions before - think Sweeney Todd or Hairspray.  After Hairspray (the best production of the show I saw state-wide) I did not think they could parallel the success of such a cohesive cast, an electric audience, and all-around strength in talent (aka no weak player in the lot).  I'm so glad they proved me wrong.  And then some.   I have seen this show on Broadway and parts of Midvale's production thrilled me more than the professional cast.  Not to mention that Rent is a difficult show to pull off in a respectful manner, but I'd say Midvale does it in about as classy of a way as you can with this subject matter.  You will be hard-pressed to find an all-around better production of this show at the community level anywhere.

You can still catch the show August 2, 3, 4 @ 7:00pm, August 4 @ 2pm at Midvale Main Street Theatre 7711 Main Street.  Admission is $15 and worth every penny - buy them here.  Both shows last Saturday were sold out, so you will want to make sure you reserve your tickets.


CAST
Aleksndr Arteaga.....Tom Collins
Ashlee Brererton.....Mimi Marquez
Frank Castro.....Angel Dumott Schunard
Carolyn Crow.....Joanne Jefferson
Michael Howell.....Mark Cohen
Shawnee K. Johnson.....Maureen Johnson
Daniel Silva.....Roger Davis
Sterling Young.....Benjamin “Benny” Coffin III
Garrett Fairbourn.....Ensemble
Ryan Fallis.....Gordon, Ensemble
Thomas Fitzgerald.....Steve, Waiter, Ensemble
Travis Fryer.....Ensemble
Anna Harris.....Ensemble, Maureen Johnson (Matinee)
Ryan Honeycutt.....Ensemble
Liz Rowley Hilst.....Ensemble, Joanne Jefferson (Matinee)
Richard Johnson.....Mr. Johnson, Mr. Grey, Ensemble
Charity Jones.....Alexi Darling, Ensemble
Taylor Lawrence.....Ensemble
Cassidy Ross.....Ensemble, Mimi Marquez (Matinee)
Berlin Schlegel.....Ensemble
Kristina Stone.....Mrs. Cohen, Ensemble