Carrie The Musical: Utah Repertory Theater Company

 

I walked into Utah Repertory Theater Company's space at the Gateway for Carrie: The Musical, and was immediately submersed in a world that felt like a Haunted Gymnasium.  The sounds,the lighting, the smells, the "dead" people walking around were all on par.  I'm not a big fan of interactive casts when the production wasn't originally designed to be interactive, so I was a little leery until I realized this was not an interactive production, but an immersive one.  The "dead" students simply existed to create the atmosphere, which perfectly pulled me into the spell of Carrie: The Musical. 

Carrie: The Musical, directed by Johnny Hebda, is based off the famous Stephen King novel and subsequent film, Carrie.  The plot follows the title character as she matures in high school, as she is bullied relentlessly, as she learns to trust and distrust, as she is abused by her religious zealot of a mother, and as she discovers her powers which ultimately lead to her demise and the demise of almost all of her classmates.  

Immediately, I was impressed with the strong choral ensemble sound and great acoustics in combination with superbly-executed dance moves.  In spite of the fact that the actors are often directly in front of you or surrounding you, the blending is fantastic and, because of the intimate atmosphere, even if an actor's mic wasn't on as quickly as it should have been, you could still hear the actor.  Vocally, the strongest numbers for me were anything sung by Rachel Shull as the terrifying Margaret White, "Unsuspecting Hearts" - a duet between Natalia Noble's Carrie White and Megan Shenefelt's Miss Gardner, and "Shine"- a duet between Emilie Starr's Sue Snell and Brock Dalgleish's Tommy Ross.  I was impressed with how healthy of a belt sound the leading actors produced with an exception of a few pushed lines on the title song "Carrie."  Skye Dahlstrom's sassy, insecure bully, Chris Hargensen, on "The World According to Chris" had a strained, forced sound to her belt, but melted my heart with her crystal clear angelic, gentle sound when singing in her higher register head voice as she introspectively sings alone after the rest of the cast exits the stage. 

Acting-wise, Dahlstrom is a stand-out in her portrayal of Chris - she shows us the insecurities deep within that manifest into cruelty.  We watch all of the character relationships develop throughout the show, but the best relationship chemistry, surprisingly, is at the beginning of the show between "best friends" Sue (Starr) and Chris (Dahlstrom).  I also enjoyed the loving, protective relationship between Carrie (Noble) and Miss Gardner (Shenefelt).   

Natalie Noble will absolutely knock your socks off as she becomes Carrie White - from her posture to her mannerisms to her awkward glances to her unsure-come-unstoppable metamorphosis.  Margaret (Shull) was truly the most terrifying character in the show, with her religious-zealot mind frame and the way she loves and simultaneously abuses her daughter.  My notes actually said, "Shull as Margaret - YIKES!" Miss Gardner (Shenefelt) is Carrie's inspiration in a voice of love and reason.  There was a certain melody missing to her southern accent, but nothing can stop the warmth you feel emananting from her and her love for the students.  Emilie Eileen Starr's Sue is the heart of this production, covering every emotion from joyous to tearfully traumatized to love to fear to hate - and bringing the audience along with her on the ride. 

As a whole, the ensemble characters are fantastically convincing in character, never breaking even though at times they are practically on top of the audience.  They precisely and energetically execute Ashley Gardner Carlson's ambitious choreography.  One female ensemble member lacked the electricity to her character the others portrayed, while none of the male ensemble members convincingly portrayed the heterosexual males they are intended to be (one is written as being "confused).  But don't take what I'm saying the wrong way - the ensemble was absolutely at a level at which any director would be more than pleased.   To both ensemble and leads - most of the cast has rock-star physiques that the best of trainers would be proud of, so I must point out there is no need to fidget or adjust the costumes while on stage. 

Speaking of the ensemble, the staging of many of the scenes, full of chaos and running, was precisely portrayed the performance I attended.  I can see how one wrong step could lead to a collision or injury, but the cast seemed acutely aware of each other, in spite of darkness, flashing lights, and screaming.   

The lighting, by Geoffrey Gregory, with precise spots, color changes, creation of the tone for the special effects, etc, was also exactly what I would hope for in a production in this space.  The magic of the special effects shared with the audience were spot-on.  Many of the effects were implied for the audience to use our imaginations with sound and light, which absolutely worked because the imagination is often times more vivid than reality, yet because the effects we saw were so enthralling, we were left wanting more of the magic show.  

Also a huge help in creating the atmosphere was the makeup by Kelly Donahue.  Characters change from dead to alive at the beginning of the show through the flashback story-telling of Starr's Snell.  I was amazed at the quickness of that change.  Carrie is a girl who doesn't know how to take care of herself, but I don't see her as absolutely wretched, which is what her harsh makeup at the beginning of the show creates with the red tones on her eyes and flesh tone on her lips.  Her color tones were more blended by half-way through Act 1.  The aging makeup on Shull worked well, considering the very small venue and how close we were, but I wish I had been twenty feet further away so I wouldn't have noticed.  To save the best mention for last - the blood.  The Blood!  The blood looked real, created gore without being over-the-top, and smelled delicious.  Yes, I understand the creepiness of that statement.  Very well done.

The music was perfection.  I didn't realize the orchestrations were live until part-way through the show because they were precisely executed and at such a perfect balance sound-wise with the vocals.  Balance may seem a given, but in most shows there is almost always one over-powering the other.  Hats off to music director Kevin Mathie.  

Director Hebda's vision for the show was original and well-executed.  Many of the props, as we experience this story through the flashbacks of Sue Snell, were left to the imagination, except vital pieces such as The Bible.  In flashbacks, we remember only integral details, not every minute object.  The missing pieces added to the atmosphere, creating a disturbing element visually.  Hebda's vision also leant itself to leaving out some of the vulgar bullying aspects at the beginning of the show that weren't necessary.  He wisely re-imagined the beginning of the show to have the characters first appear as deceased, then a close-up on the living Sue, creating the full-circle of the story. You will also notice that Sue never changes costumes, which makes sense as the audience is experiencing this story through her narration of her memories.   She flawlessly transitions from telling the story to being part of the story.

There wasn't any better place to be this past Halloween weekend than watching this production.  The talent impressed, the atmosphere transported, and the message touched hearts to the point of tears from both audience members and cast alike.  If you are intrigued by the idea of Carrie as a musical, go check it out and you will walk away with your heart more full, whether for your love of people or horror.*  Carrie is the perfect choice for entertainment to haunt you with the ghosts of your past, as every audience member will be able to connect with one of the characters as someone they knew, or were, in their youth.  

You can buy tickets for shows Wednesday at 7:30pm - Sunday, November 8 at 7:30pm.  There is a 2pm Matinee on Saturday and a 3pm matinee on Sunday.  This Wednesday is "pay as you may" day at the door (Gateway Mall, 90 S. Rio Grande St. in Salt Lake City) as long as tickets remain.  Prices are $18 for adults pre-purchased, $15 for students/seniors, and $20 for adults at the door.

*Content Advisory:  This production contains adult language, with several uses of "the F-word."  There is also physical violence, although it is purely theatrical, it is staged convincingly.    

Directed by Johnny Hebda
Musical Direction by Kevin Mathie
Choreography by Ashley Gardner Carlson
Assistant Directed by JayC Stoddard
Produced by Cylie Hall
Sound Design by James Hansen
Lighting Design by Geoffrey Gregory 
Makeup by Kelly Donahue 
 
Cast:
CARRIE WHITE- Natalia Noble
MARGARET WHITE- Rachel Shull
SUE SNELL- Emilie Starr
CHRIS HARGENSEN- Skye Dahlstrom
TOMMY ROSS- Brock Dalgleish
BILLY NOLAN- Derek Gregerson
MISS GARDNER- Megan Shenefelt
MR. STEPHENS/REVEREND BLISS- Jim Dale
NORMA- Giovanna Doty
HELEN- Kellie Rodriguez
KIM- Micki Martinez
LISA- Jenny Bauman
FRIEDA- Morgan Michel
GEORGE- Todd McRae
STOKES- Tommy Kulkus
FREDDIE- Garrett Grigg
STEVE- Dallon Thorup
RICKY- Paul Calvo

The Last Five Years: Utah Repertory Theater Company

Every story is told from the point of view of the person sharing the story.  Utah Repertory Theater Company shares with us a musical masterpiece of composer Jason Robert Brown in The Last Five Years.  Audiences experience a love story, told alternately through the eyes of Jamie and Cathy, Jamie recalling from the beginning of the relationship, Cathy from the end, and meeting in the middle.   

Utah Rep's website sums up our characters best: "Jamie Wellerstein (Rhett Richins) is a young, talented up-and-coming Jewish novelist who falls in love with Cathy Hiatt (Erin Royall Carlson), a struggling actress and shiksa goddess."   Audiences spend the next hour and a half with the talents of Richins and Carlson alone on stage, as directed by John Sweeney.

Rhett Richins' nuances as Jamie Wellerstein were natural, convincing, and often hilarious.  He conveyed every nuance of an emotion through one simple look, one pronunciation.  I loved the way he wove accents in and out of his singing as he talked about his Jewish mother and an old clock maker named Schmuel.  Actors are often directed that every movement has a purpose, which Richins personifies as he tells a story in each look, movement, and musical note. 

Erin Royall Carlson as Cathy Hiatt evoked a strong stoicism and warped sense of humor that being a theater professional requires.  We see such weight on her shoulders as she begins the show at the end of her story and relationship, with each scene seemingly lifting off another emotional brick to unveil the light, energetic, radiant Cathy that Jamie fell in love with. 

Live orchestrations grant these two performers the ability to interpret the lyrics and musicality with emotion and depth, helping transfer those feelings to the audience.  Music director, Anne Puzey, created a remarkable atmosphere with her ensemble of talented musicians.  Composer Jason Robert Brown is known for intricate work, and these musicians created a feeling of intricacy that could have shared the story even if the songs had no lyrics.   

The set, lighting, and sound were all very simply designed as we focused on a three-point turning set piece in the middle of the stage, with side pieces and use of shadows to direct or focus to a certain character or scene.  I agree with these decisions strongly, as this story is about two people and their relationship, stripped bare of the world around them.  

Watching the decisions of Jamie and Cathy, my heart wrenched with the agony of my own choices and where they were leading my life and the life of my relationships.  Cathy and Jamie made these seemingly insignificant choices that became more and more substantial until their relationship was ruined.  We can choose our path, but we cannot choose our consequences.  I became keenly aware of how important each moment is.  When Jamie asks Cathy if she will share her life with him for the next ten minutes, then ten more minutes, I thought about how many times the present ten minutes would not leave my friend or husband to ask me for another ten minutes. Jamie gifts Cathy a watch at one point, saying, "You get to be happy...I give you unlimited time."  Watching The Last Five Years stress the importance of time and its correlation with happiness drives home the invaluable importance of every moment.  It's in the moments that life is made or broken.

As a passionate theater-goer, yet not someone who researches beyond plot-points to the intricate nuances of a show before I attend, I can confidently say that The Last Five Years can be confusing even if you know there are two timelines that meet in the middle.  Perhaps a talkback session would have explained the answer to our questions, but my companion and I both had a difficult time understanding why there would be a Jamie scene where he is singing to Cathy and she is present, then the next Jamie scene where he is singing to Cathy, she is not present.  We didn't notice a correlation between his temperament or the stage of their relationship and her presence or lack thereof.  The one correlation we found was between her presence/his presence and costume changes.  For such a minimalistic production, the elaborate costume changes seemed a bit much.  Yes, it did help tell the story and create clear "this is a different scene" moments, but I would have liked to see both characters on stage at all times (which I know is more exhausting than a marathon for performers), with simple costume changes, like the addition of a jacket, a change of shoes, a scarf, etc.  This would have fit the overall minimalistic feel for me.  I also wondered if perhaps the age in the lyrics could have been changed to more accurately reflect the age of the performers. 

Some of you may question whether to see the live theater production or the movie that is hitting wide-release in theaters.  My suggestion is you must see both.  There is beautiful story-telling in the movie, however, live theater has an electricity in the air that makes the experience undeniably more real.  The raw vibrancy of a person standing in front of you shedding real tears and real sweat while singing their heart out to you, to tell you a story, cannot be recreated on film.

If you have a heart, it will break watching Utah Rep's performance of The Last Five Years - it will break with joy, mourning, inspiration, and appreciation of the beautiful work of art in front of you.  You will see scenes from your own relationships played out before you, giving you the cherished feelings of each loving moment while your gut wrenches with pangs from loss.  Should you choose to use your time at The Last Five Years, that time will be incredibly well spent.  As Jamie sings, "Take a breath.  Take a step.  Take a chance." 


The Last Five Years runs at various times, with varying admission prices, until March 15 at Sugar Space Studio Theater in Sugarhouse, then March 20-22 at the Ziegfeld Theatre in Ogden.  Please refer to the website for more information.  Please also note that the movie version of this production is rated PG-13 for language and adult themes, which echoes the stage production. 

Image from Utahrep.org

*Disclaimer*  I've heard it said, and fully agree, "Reviewers don't write about theater, they write about themselves at the theater." 

Bare: Utah Repertory Theater Company

In your life, in what situations would you use the term "bare?"  Of what meaning do you think?

The first thought that comes to mind is "naked."  A step further leads you to think of feeling exposed/vulnerable, then perhaps to a burden you bare, or even to bare a testimony.

Utah Repertory Theater Company has taken a huge stride in the equality movement through bringing Bare: A Pop Opera (musical), to Salt Lake City.  In fact, Utah Rep is giving 15% of ticket sales proceeds to OUTreach Resource Centers, "a non-profit collection of youth resource centers dedicated to transforming communities and saving lives through programs designed to promote positive outcomes for youth experiencing homelessness, family rejection or victimization."

Bare, straight from Utah Rep's website, "is a coming-of-age story of a group of high school seniors at a co-ed Catholic boarding school, with each struggling to define themselves in the face of their relationships, sexuality, and religion. As they search to come to terms with who they are — and who the world thinks they should be — they seek answers from their church, their friends, and ultimately, from within themselves. Bare examines the consequences of baring your soul — or hiding it — from those who matter most."

Instead of sharing with you the specifics of the plot, I want to share with you the feeling of the show.  Go back to my earlier question about "bare" situations in your life.  How did you feel: Declaring your first love?  Graduating from high school?  Moving away from home?  Falling in love?  Losing someone you love?  Keeping a secret that could change someone's life?  Finding or losing your love for God? Realizing someone you trusted was wrong?  You were vulnerable, exposed, and bare.  We have all been through at least one of these situations, which means we all know exactly what the feelings and struggles of the characters in this story.  

Utah Rep and director Johnny Hebda, pulled off quite a feat over the past few months, gathering a cast combined of experienced actors and actors the actual age of the characters.  I worried at first that this material is not appropriate for teenagers.  Not even close to appropriate.  But watching the story, I realized that these are exactly the trials real teenagers and young adults are experiencing. 

My first thought upon entering the new Sugar Space facility was in regards to how drastically improved the venue is since my last visit.  Several months ago, I was rubbed the wrong way about the bare-bones of the set structure, lack of temperature control, and location.  Audience members will be relieved to know that all of these issues have been resolved and many additions have been made.  

You will notice 5 LCD screens that will delight you throughout the show with text messages, face book posts, instagram feed, and photos.  Mostly used during scene transitions, this feature keeps the audience absorbed in the world of Bare while keeping us all in stitches with laughter.  Surrounding you on the walls are 24 posters of the cast members' characters,leading your eyes to the stage with rows of lockers, dual staircases, and a church backdrop, immediately warping you back in time to grade school days.  Utah Rep's lighting and sound systems never missed a beat (although the sound tech did miss a few cues in the rapid one-off solos of the 24 cast members).   

When the cast enters, we are thrown back to the days of Catholic school uniforms and mass.  I quickly picked up on the flattering and meaningful costume details of Nancy Susan Cannon.  The senior class members are dressed differently than the underclassman, with great detail on the crests of their sweaters, matching skirts, personalized shoes, and hairstyles.  I see the same simultaneous uniqueness and uniformity I saw in my Catholic-school friends growing up.  One of the costuming/prop decisions that made me smile was for Peter (John Patrick McKenna), the lead character struggling with his sexuality, to have a purple backpack.  

In the opening number, there is an eerie vocal line sung simultaneously with a choral piece by Jonathan Scott McBride as the priest- this monotonous, deep Latin curse.  I'm sure it wasn't actually a curse, but it sets a tone immediately that while things may seem perfect, there is something dark lurking beneath.  Writing of music brings me to one of the production qualities I always love about Utah Rep is the use of a live band.  Our music director for this show is the brilliant Anne Puzey.  The physical placement of the band in proximity to the audience was perfect to be able to see them as part of the show, yet not overpower the vocalists who are precisely on par in their singing and their character portrayal as actors.  

In the first ten minutes of the show, we see Claire (Shalee Schmidt), the mother of Peter, balance humor and heartbreak to convey a complex feeling of distress, confusion, love and acceptance regarding the truths she knows about her son, but will not yet admit.  Continuing with the "truths we know" theme, the characters all seem to be sure of God's existence, yet constantly ask, "Is God listening?"  We see each struggle more with asking why God isn't responding than asking if God exists.  This strikes me as a theme of underlying, constant hope that there is more out there in something greater than ourselves.  

Enter Jason (Brock Dalgleish) in the locker room kissing Peter.  Jason is a muscular man's man, always a step ahead of letting himself feel in anticipation of what others might think.  A quote from the priest in the second half sums up Jason's actions in the first, "Don't question too much and you'll get along fine."  The problem is, no one can accept ignorance for long.  We all start questioning eventually.  For Jason, however, there are no answers and he is lead to a world full of fear of the unknown.  If not for Dalgleish's portrayal of the carefree, then conflicted Jason, I don't know if I would have understood the importance the show needs us to see of never accepting a world at face-value.  

Back to Peter.  He looks the conventional fresh-faced innocent type, yet has no problem accepting his life is not conventional.  He recognizes love and knows love is more important than fear of a "what if."  McKenna makes a heroic return to the Utah stage with his powerful tenor and silent turned siren character.  

Peter is not the only one in love with Jason - the ever popular, promiscuous Ivy (Emilie Starr) is too.  What I love about Starr is how comfortable she makes audiences feel when she is on stage.  She has a calming presence in that you are never worried about her making a mistake.  I don't worry about most actors, truthfully, but she truly puts me at ease.  If you watch her throat when she sings, you don't even see strain - a true gift of talent and training. 

To add to this weird love triangle, making it more of a square(?), we have Matt (Thomas Kulkus) who is in love with Ivy.  Kulkus is utterly convincing as the doe-eyed, puppy-dog faced (in a good way!) longing teenager.  Matt intrigues me because of his devotion to a girl who won't return the favor and his devotion to the secrets of Jason and Peter.  He sees he is losing Ivy to Jason , yet holds on to something that could destroy Jason's reputation.  When provoked the tables may turn, yet Kulkus portrays this character in such a way that you do not see any true intention of malice.  You see a hurt young man who seems to understand how important it is that we be authentic to our choices.  

Jason has yet another love - his sister Nadia (Katie Evans).  She is the only character who seems the full 360 degrees of what he is experiencing.  Evans plays off of Dalgleish in the most adoring, unconditionally loving, tormenting relationship that only a brother and sister could share.  The pair does not shy away from physical affection, be that a hug or a punch.  Nadia's burden to bare is her insecurity about being fat.  Her song about the burdens and dreams that will never be because of her size are thoughts that crippled me as an adolescent, obese girl.  I watched Evans' Nadia wanting to hug her and tell her that she can take control of her life and things do get better, yet even if Nadia were a real person, I know that telling a teenager those things means nothing until they experience it themselves.  

In a show so concerned with love, we see only one truly unconditionally loving character in quite the unexpected place.  Sister Chantelle (Yoah Guerrero) delivers two of the most poignant lines themes in the show: 1. God don't make no trash 2. He is just as God wants him to be.  Guerrero can SANG!  Her voice never quit, but there were a few parts where the tricky vocal runs caused some breathlessness and strained facial expressions, but as soon as she got a breath in - Bam!  Big note.  Not only can Sister Chantelle deliver love and vocal majesty, she is hilariously the true comic relief of the show which may or may not (go see it!) include a guest appearance as the Virgin Mary.

Other stand-out performances shared with us were that Carolyn Crow as Kyra, Jennifer McKay as Diane, and the entire "ensemble."  Crow has a light of a presence on stage that grows brighter and brighter.  Her face is always illuminated in expression and feeling.  McKay is just adorable in an absolutely beautiful and talented way.  She pulls your eyes towards her almost every time she is on stage with her dedicated, natural character decisions.  The ensemble kept the energy high through their choices to not let their characters drop, having purpose in their movements, and singing to fill the room whether an angelic tone or rock.  I also want to point out the professionalism of a very young cast - I heard zero back-stage noise, all scene changes were prompt, and everyone appeared to make their cues.  

As with all things wonderful, there were a few aspects that could have used improvements.  The score is vocally quite a challenge and at parts, mostly the lighter-sounding runs, the pitch fell wayward.   Not often, mind you, but it happened several times from several characters.  There was also a rap solo that, although the lyric and vocal energy was high, just didn't have enough energy by way of facial expression and bold movement.  Look as confident as you sound because the scene is great.  To all on stage, I also share that you should not be fidgeting with your hair and costumes unless your character is.  Audiences are distracted by watching those constantly swiping hair out of faces (so much of this happened) or pulling skirts/pants down/up.  If you don't act uncomfortable, we won't be uncomfortable.  My final fix is for the facility itself.  The ladies restroom stall doors can be "locked" but opened with a slight push.  Which I unfortunately found out when someone thought I might be a little lonely in my stall at intermission.  

Bare is, most of all, about love, conveying the power of a lyric most are familiar with from the musical Les Miserables, "To love another person is to see the face of God."  Bare teaches us to love, to hope, to know that God creates each of us with purpose.  

Please see Bare.*  Please remember what you felt at your most vulnerable, that rawness, that fear, that wonderment.  Look at each person you pass today knowing they have felt those things too and love them a little more out of understanding if nothing else.  You can find details about the show, which runs through January 31, here.  

*Content Advisory*  - This show would have a hard "R" rating if it were a movie.  Those sensitive to non-family friendly entertainment or easily offended should not see Bare.  However, if you have a close friend or family member who has struggled with accepting their sexuality, I think this show might help you understand a little more.    

Grace: Utah Repertory Theater Company

Grace is the story of, in the words of playwright Craig Wright, "A man who believes God is on his side coming face to face with the fact that that just isn't true.  Disastrous consequences ensue."  Throughout the performance, we clearly see how the male characters let their pasts define who they are and somehow feel restrictions - whether condemnation or elation, from a higher power, be that God or not.  We also see a theme of how we let man's damages leave their mark on us, viewing all the man-imposed standards of good as right.  But who is to say how God's true divinity in our lives really manifests?

Utah Repertory Theater Company's performance of Grace perfectly demonstrates everything that is wrong with Christianity in the character of Steve, performed with crazy-eyed furiosity by Johnny Hebda.   What are the two biggest things you think of when you think of Christianity gone wrong in the state of Utah?  Did pushy sales people and overzealous, relentlessly forced conversion tactics cross your mind?  I giggled a little when I wrote down, "Jesus freak," in my notes, only to have another character refer to him as that exact thing not even ten minutes later. 

In perfect contrast to Steve's warped view of his self-created divinity, Emilie Eileen Starr as Sara is a gentle example of what is truly divine through unconditional love.  Her motives are not purely based on trying to convert or sell something to anything that breathes.  Sara wants everyone to feel love in their lives, a theme a well-loved blockbuster musical has made familiar - "To love another person is to see the face of God."  She knows this and feels this.  Steve is as far removed from this reality as they come - only capable of loving those who believe exactly as he believes. 

Shortly after we are introduced to Steve and Sara, we meet elderly Karl, the exterminator at the apartment complex, played with crotchety vivaciousness by Jeffrey Owen.  I was shocked to see his photo and realize he is actually quite youthful.  His character brings humor, as well as that established feeling of an apartment complex with people from all walks of life - that history you want to feel well-rounded as a people. 

Jayc Stoddard as Sam, our scarred NASA employee, has a storyline that shows us how life can change in an instant, as well as his demeanor.  The audience sees how this gentle, loving, successful man before his accident, has turned into a scornful recluse.  His attitude often switches from viscious to remorseful in the snap of a finger, but the way Stoddard plays this character makes this make sense.  You see how he's let darkness into his life and always immediately realizes where there could be light.  Utah audiences need to know that Sam's exclamation of choice is the notorious "F word," which he begins to correct himself on throughout the show - another exemplification of how his life becomes more and more light through the influence of the good (Sara) around him. 

I previously mentioned the aging of Jeffrey Owen into elderly Karl. Kelly Donahue brings to life her wonderful makeup design. The scars on the face of Sam, the scene-by-scene spreading rashes of Steve, and the aging of Karl were all beautifully created.

Speaking of beautiful creations, the stage direction of the show really struck a chord with me.  Every actor occupies the same space on stage, representing several actual spaces.  In the Director's notes, we see this perfectly explained through one of Sara's lines, "We're here together.  The idea that we're not all in any way somehow here for each other but just somehow beside each other is just stupid."  We are all here together, occupying the same space.

Another creation in the stage direction I particularly enjoyed is the use of the "replay."  In life, we are always asking ourselves, "What if I could go back?"  But you can't go back in life, you can't change what has already happened.  The replays in this production demonstrate the inability to change the past.

In regards to the set and other technical aspects of the show, with a four-man show in a space that only seats 90, there isn't much required.  No microphones were used, which I always prefer, as the actors natural cantor and intonation is better than anything electronic and prevents the ridiculous feedback problems that plague Utah theater.  The background Christian music was a nice effect between scenes, as the scene changes felt long, but when you realize the actors were changing wardrobes, hair, and makeup within those 60-seconds, you quickly forgive the time.  I also loved the slight hum and sound of water running as background, making me feel as if I were near a coast in Florida - unfortunately I was duped because the show ended and I realized it was the hum of the utilities in the building, so I guess I can't give Utah Rep credit for that choice.

Grace is a show that will make you think.  There are no bright and happy musical numbers, no elaborate and colorful sets, but there are characters and themes that will encourage you to contemplate your situation in life and your choices for light and happiness therein.  I highly recommend this show, however, if you are even slightly offended by harsh language, I would suggest you stay away from this production.  For those who attend, you will be touched.

You can catch the final two performances of Grace for $15 at Sugar Space this Saturday May 10 at 2pm and 7:30pm.  You can purchase tickets here. 

Bonnie and Clyde: Utah Repertory Theater Company

I'm sure when you think of "musical," Bonnie and Clyde is not exactly the storyline that comes to mind.  But let me tell you what - Utah Repertory Theater's production of Bonnie and Clyde, as strange a concept as that is, sparked my interest in the actual historic events of Bonnie and Clyde to the extent that I spent several hours researching the story.

I wanted to know the truth or not-truth of these seemingly unbelievable events.  Was I ever surprised!  Creative liberties aside, the musical did a pretty good job conveying some of the parts about which I thought, "That couldn't be true."  Did you know Bonnie was a poet and predicted her own demise?  I found this all surprising because (I am guessing that most people of my generation and younger are in the same boat as me) I have never seen the classic film starring Warren Beatty and Faye Dunaway. 

For those not familiar with this infamous duo, we can sum up the story to say they were two 1930s southern outlaws in love, leading a murderous crime spree which ended in their gruesome deaths.

I had a little bit of difficulty finding Lehi Arts Center, where the production is housed, simply because my AppleMaps decided to take me on an adventure.  I showed up 6 minutes late, but Utah Rep caters towards Utah audiences who are preternaturally late, and I ended up being seated without being rude.

I immediately noticed the decor.  I absolutely fell in love with what they did with the space.  Each character is based off of an actual historical figure, which means we have photographs of the people involved.  The production company decided to recreate scenes and costumes to match existing photographs, then placed the actual character photo next to the cast member's photo.   To match this theme, at the conclusion of the show, they showed actual footage of the final ambush of Bonnie and Clyde.

The set is solid and perfect for the show, including a car they move on and off the stage through the set.  I'm not sure how the accomplished such a feat in the prohibitive venue, but it absolutely works thanks to the design of Steve Twede.  You will see the live accompaniment group off to the side, for which I say, "Kudos" to the director, Anjanette Mickelsen - she was paying very close attention to the actors on stage and spot-on with cues.

We first meet Bonnie and Clyde as adorable youth (Abigail Parkinson and Kimball Bradford), one with a dream to be a star, the other with a dream of becoming an outlaw.   The introductory song transitions into seeing the duo in adulthood shortly before they meet each other. Cue the entrance of the absolutely mesmerizing Madeline Weinberger as Bonnie Parker.  Can I say she was sheer perfection?  She alone is worth the price of admission.  I could not find a flaw with anything - her acting, her singing, and her movement were all exact.  Everything about her performance lead me to wonder what on earth this talent is doing on a stage in Utah County instead of in New York City.  Johnny Hebda as Clyde is a talented man with a wide range in acting and a lovely voice, but the role, for me, simply was not a fit in vocal range and the rough-and-tumble persona required to convince the audience he is murderous outlaw Clyde Barrow.

Buck Barrow, Clyde's brother, is the next character we meet after he has busted out of jail.  Of course the ladies then burst into a musical number about how he needs to go back to jail.  This is the part of the show you will find yourself giggling and smiling the most, as the women are in a beauty shop and bossing this fugitive around...you just have to see it, it was great comic relief.  I think it was around this time that there was an absolutely hilarious scene where a deputy tries to seduce one of the women with his gun and she is falling for it.  However, this side-action upstaged the dialogue of the main characters to the extent that the entire audience was laughing and we couldn't even hear the conversational exchange.  I hope I didn't miss anything important.

Throughout the production we meet many more characters, all of whom are integral to the action and ultimate demise of Bonnie and Clyde.  All of the actors and actresses lived up to my expectations for what I have come to know of Utah Rep. I was impressed with Christopher Bradford's vocal manipulation to have this soulful, gravelly voice as the minister.  He later sings in a more classical musical theater style, both of which are impressive.  I also appreciated the character of Blanche Barrow, Buck's wife, portrayed by Michelle Moore the night I attended, but Twyla Wilson on others.  She has some sassy lines which surprise you from what you can tell is supposed to be the straight-man character.  

But can I tell you who really won my heart?  Dallin Major as Ted Hinton, a man who played a large part in the final ambush of our outlaws.  Major convincingly portrayed a love-struck lawman torn between what he knew about a young girl and the reality of the law in front of him and he did it all while singing the sweetest melodic tones your eardrums could ever wish to hear.  I hope my company for the evening is alright with me confessing on her behalf that she said emphatically after the show, "His voice changed my life!"

I have to give shout-outs to several of the ensemble members.  Kira Knorr has an absolutely angelic voice -  we heard her soprano as she was walking through the aisles next to us. Cara Baker as the bank teller may have only had a few lines, but she delivered them with great characterization and panache.  Few actors can develop a character like hers in such a brief moment.

Towards the end of the show, if you've absorbed the awesomeness of the cast recreation photos aformentioned, then you will notice what a brilliant job the costume designer did in recreating one of the Bonnie's actual outfits.  I seriously couldn't get enough of this- I kept looking at the stage, then looking at the poster on the wall, then looking at the stage.  Well done, Nancy Susan Cannon. 

One word of advice for Utah audiences - know the show you are going to see!  I cannot tell you how many times I have seen audience members walk out of a production because of an inappropriate word or joke or scene, and this show was no exception.  My question is, "Why were you there if there was what you consider to be questionable material?"  Bonnie and Clyde were outlaws in love - they slept together, they swore, they killed.  If you are not prepared to see a show that contains that kind of content, then this is not the show for you.  That being said, the show would be rated a soft PG-13 if it were a movie.  Utah Rep has a content advisory on their website for the show listing the possible offenses you can check out here if you are wondering.   Also, be advised there are simulated gunshots in this production and the are loud...very, very loud. 

If you are interested in seeing a different kind of musical that has never been produced in Utah and has only been produced nine times since closing on Broadway, then you definitely need to see Utah Repertory Theater's production of Bonnie and Clyde at the Lehi Arts Center.  You will be thrilled to find yourself in an intimate setting surrounded by a marvelous level of talent and absolutely enthralled with the story.  Be prepared to carve out some extra time for yourself to go home and do a little more digging on the truth of Bonnie and Clyde's lives, I know I absolutely couldn't resist.  In fact, if you are at all thinking about seeing this show, you will be making a huge mistake if you don't go.


Bonnie and Clyde plays January 17 – Feb 1 2014 at the Lehi Arts Center, 685 N. Center Street, Lehi with performances Mondays, Thursdays, Fridays and Saturdays at 7:30 p.m. and matinees at 2:00 p.m.  The show runs approximately 2 hrs. and 45 min.  Tickets are $15-$18 and you can purchase them here.


Lead Cast and Production Team:
Madeline Weinberger - Bonnie Parker
Johnny Hebda - Clyde Barrow
Michelle Moore and Twyla Wilson - Blanche Barrow
Johnn Wilson - Buck Barrow
Dallin Major - Ted Hinton
Christopher Bradford - Preacher
Cara Baker - Bank Teller
Kimball Bradford - Young Clyde
Abigail Parkinson - Young Bonnie
Adam Cannon - Director
Anjanette Mickelsen - Music Director
Ashley Ramsey - Choreographer
JC Carter - Producer
Annie Brantley - Stage Manager
Nancy Susan Cannon - Custume Designer
Kelly Donahue - Makeup and Hair Designer
Steve Twede - Set Designer

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

What The Bellhop Saw: Utah Repertory Theater Company

Walking into the Murray Theater last weekend, I couldn't help but let the edges of my mouth curl into a grin.  One thing I have got to give Johnny Hebda's Utah Repertory Theater Company is that they always do their darndest to create atmosphere for their patrons.  In What the Bellhop Saw, you will find your tickets at a hotel check-in desk in the hands of the hotel staff, after which the bellhops usher you to your seats.   Who doesn't love feeling a part of the show and removed from the real world before the show even begins?

My impressions were further reinforced as I gazed up on the stage in wonderment at the set.  I've been to the Murray theater many times and never expected to see a 1940's art deco hotel room constructed on the stage. 

What the Bellhop Saw, is a farcical comedy set in a New York City hotel.  The actual era of the show was a little lost on me as I know it was written in 1989, however music from the 1940s through today played throughout the show and the characters dressed in 1940s-style clothing.  As far as the storyline, you've got a man trying to seduce is secretary, a scheming brother, a terrorist, a manly jealous wife, and a sleep-your-way-to-the-top maid.  That's really all you need to know.  

I don't want to get too into the plot, as that's not what creates the fun about this show.  You've got cheesy, "Naked Gun"-esque lines, like a pantsless man stating, "You scared the pants off me," visual farce such *spoiler alert* a man dressed as a woman, and staging that constantly has your eyes darting from one side of the stage to the other as the actors run in and out of the room in dizzying array.  Kudos to director Chasey Ramsey!

Arlene, the jealous wife played by Jake Suazo, is physically hilarious and daunting, yet he often seemed on the verge of a smile.  When you see the show you can tell why he'd want to bust up laughing at any moment, alas the cruelty of the character isn't as sharp as it could be if you think the character may chuckle.  Thank heavens the only things truly busting up were the buttons off the bosom area of his dress.  Wardrobe malfunction or intentional, I covered my mouth to keep myself from giggling too loud every time I noticed.   

The only tidbits that rubbed me the wrong way were a few lines I like to call "throw away lines."  These are strange transitional lines that seem to make no sense in the course of the show, yet the writers throw them in anyway.  I thought most of these were cleverly hidden, but a couple fell flat and stalled the pace of the show.

Expect lots of yelling (hallelujah the actors are not miked so the yelling is awesome instead of shrilly busting out eardrums), lots of running, slamming doors, and fast-paced action.  I cannot tell you how impressed I was with this troupe rarely missing a beat of the frantic comedy pacing.  The first half of the show is about 45 minutes, while the second half less than thirty.  This is refreshing after too many a 2.5 hour show. 

I appreciate a group wanting to do a show simply because it is fun...it's refreshing.  I don't think enough people celebrate zaniness for the sake of zaniness.  Sometimes we need a show that reminds us that acting is fun and life is silly, pure and simple.  Not enough theaters in Utah attempt to embrace the fluff of comedies of the physical, mad-cap comedies of old.  One of the actors in the talk back session after the show stated, "This show is nonsense and it celebrates that."

Director Ramsey stated my summary of the show best in his production notes, "...It will not change your life, and it won't even make you think.  We do this to allow you to escape, laugh, and simply find freedom from stresses and blemishes in your lives."

You will enjoy each cast member in this strong ensemble: Jack Kyle Oram as Wally, James McKinney as Georgie, Daniel Whiting as Mr. Bickhardt, Benjamin James Henderson as Stan, Jason Sullivan as Roger, Bethany R. Woodruff as Missy, Maddy Belle Forsyth as Heather, M. Chase Grant as Guest, Jake Ben Suazo as Arlene, Robbie X Peirce as Babu, and Aubrey Bench as Little Heidi.  The pro-team is: Brian Grob the Assistant Director, Emily Griffith the Stage Manager, Kevin Dudley the Set Designer, Allen Stout the Costume Designer, Caitlin Mattie Webb the Makeup Designer, and Ariel Mitchell the Dramaturg.  

If you'd like to check into the What the Bellhop Saw hotel at the Murray Theater on 4691 State Street for an evening away from the world, you've got three chances left - Friday June 14th at 7:30pm, Saturday June 15th at 2pm, and Saturday June 15th at 7:30pm.  Get tickets here.

Photo courtesy of http://utahrep.org/2013-season/what-the-bellhop-saw/

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.

Damn Yankees: Utah Cultural Celebration Center

Damn Yankees - if you love dance, you must go see this production at Utah Cultural Celebration Center in West Valley City.  By far some of the best community theater choreography I have ever seen is on this stage.  Leah Hasset as Lola will have all of the young girls wanting to learn to dance and all of us older girls wanting to go back to dance.  She gives Gwen Verdon, original Broadway star, a run (or dance?) for her money. 

Now that I have that out of the way, let me tell you about the Utah Cultural Celebration Center.  This is probably the best venue you have never been to.  I did not know it existed, neither did my friend whose condo you can literally see from the amphitheater.  The backdrop is the Wasatch mountain range, the ceiling is the setting sun transforming into the twinkling of the stars, all while being surrounded with a pristinely new arts facility.  In fact, I'd recommend arriving a few minutes early to explore all this venue has to offer.  Keep your eyes open for free events throughout the summer.  The volunteer ushers, box office workers, and cast were the tops in politeness and customer service - including passing out candy to audience members as we departed.

So what is Damn Yankees about?  The storyline of Damn Yankees does no favors to the remarkable cast and talent on any stage and will most assuredly be the weakest point of most productions.  If you want a full assessment (aka the cold, hard truth) from a former cast member, read here.  This is your typical "sell your soul to the devil so your baseball team can win" story.  Basically, Joe Boyd (Brandon Rufener) ignores his wife, Meg (Brittany Carroll), six months out of every year for the love of the baseball game.  He offhandedly remarks that he would do anything for his beloved Senators to win the pennant.  Cue the entrance of the devil (Johnny Hebda) willing to barter Joe's soul for a chance to help the Senators win.  Joe agrees, plays for the team as young Joe Hardy (Austin Smith) whilst battling off skeptical reporter Gloria Thorpe (Megan Winegar) and the advances of the devil's temptress Lola (Leah Hassett!).  Meanwhile, Meg is at home, entertained with her crazy friends Sister (Jessica McCowin) and Doris (Carla Kirk).  Will the devil win Joe's soul?  Or will Joe's true love for Meg conquer all?

Meg Boyd is the one casting decision that confused me, but not for lack of talent.  She looked a good ten - fifteen years younger than her romantic counterpart and I sensed a much greater chemistry between her and young Joe Hardy than with her husband.  I heard several similar comments amongst audience members.  In spite of this, Brittany Carroll does a fine job - her voice is very reminiscent of the sweet, classic sounds of the 1940s, she played her character with utmost tenderness, and she oozed class and compassion.

Both Joe Boyd (old Joe) and Joe Hardy (young joe) have crystal clear voices.  The transformation scene made me giggle because young Joe emerged in old Joe's huge shirt, but his pants were skin-tight - I'd have expected the pants to be loose as well.

Now that Applegate (the devil) has made Joe into a prodigy of a ballplayer, enter the Washington Senators and their see-through pants.  More giggles.  The sad thing is that their pants were much less see-through (you see their striped shirts tucked in through their pants -nothing even near vulgar, just funny) than in the production I was a part of.  You stop noticing after about the first couple minutes, especially when distracted with their goofball antics and pleasing harmonizing of the quartet on "Heart."

Even with the crazy plot, Damn Yankees has a special place in my heart because I was privileged enough to perform the role of reporter Gloria Thorpe for six weeks a few years ago.  I was pleasantly surprised with the performance of Megan Winegar.  She gave Gloria a flair of Dottie Henson (bold, yet ladylike), Gina Davis' character in A League of Their Own, especially when she grabbed a baseball mitt to join in the rousing celebration with the boys in "Shoeless Joe."  Ever want to see ball players frolic and dance?  Here's your chance - and it is amusingly delightful, truth be told.  Back to Winegar - she has everything she needs - vocal chops, dance skills, and unwavering conviction...nothing about her character makes you question her credibility in any way.

I forgot to mention the comic relief characters of Sister and Doris - Jessica McCowin and Carla Kirk.  Sister is off-the-wall bonkers, unrelentingly flirtatious, and an absolute treasure to the show.  She'll make you laugh for sure.  Doris is her straight-man and adorable in her own right.

Now to my favorite, whom I've already mentioned - Leah Hasset as Lola.  Folks, you won't find a treasure like her on many community theater stages.  If your little girls love dancing, please take them to watch her and show them what they can become.  Lola is mainly a dancing role, in my opinion, although she has several songs, which Hasset is more than vocally adequate performing - not even running out of breath as she twists, spins, and contorts her body into positions only yoga-enthusiasts know.  Her facial expressions will amuse you, along with her acting, first as a temptress in employ of the devil, then as a lonely young woman rooting for Joe and his love for Meg - very tender.  Hasset alone is worth your $5 to go see - I promise.  Based on my research, she only graduated from high school last year - definitely keep your eyes on this one.

With all this mention of the devil Applegate, I have yet to address Johnny Hebda's performance.  He's got the young, attractive, charismatic appeal that you would want from a schmoozing salesman.  I have a hard time seeing past the inherent flaws written into the script for this character - he seems too weak to be the Lord of Darkness, but Hebda performs the role with pinache.  I wanted a little more gusto, or umph as some people call it, on the big notes at the end of, "Those Were the Good Ole Days," but that is just a personal preference - Hebda has a technically correct and crisp voice to carry off his number with ease.

As I mentioned before, if you love dancing, you need to see this show.  Choreographer Michael Hernandez has won me completely.  I think I'm in love.  Okay, not really, but you get the point.  He's on tour with Disney right now, rumor has it, if that tells you anything.  Every cast member could dance their tails off - some quite unexpectedly.  During, "Whose Got the Pain," featured dancer Corbin Schmidt - wow - you will not see a man move this way on any other community stage and I was entirely shocked.  Other ensemble members are dressed in rather unfitted dresses, giving you the impression they perhaps wouldn't be dancers, and then - bam - high kicks, splits, pirouettes,  leaps, you name it. 

Each director tries to add their own flair to the show - adding "finishing touches" here and there, cutting music to be longer or shorter, making duets chorale numbers, etc.  Director Julie Waite began this production with the singing of the National Anthem - very beautifully done.  During the benefit show portion just prior to intermission, the cast members came out to the audience to watch, as they naturally would for a benefit.  I typically hate audience mingling, but this was done just right and added to the atmosphere. 

So, the all-important question:  Should you see the show?  If you are a lover of dance, yes, Yes, YES!  If you are someone who is easily distracted by a weak, slow storyline, then this may not be for you, again, not through any fault of the performers.  I assure you, every character on stage is strong and skilled in the triple-threat arena of music dance theater.  This is well worth your $5 for an entertaining, unique experience under the stars with West Valley Utah Cultural Celebration Center and the cast of Damn Yankees.

The show runs at 8pm and closes on Saturday night June 30th at 1355 West 3100 South, West Valley City, UT 84119.  Admission cost is $5.  Only three chances left - don't strike out on this one!  Grab your baseball mitt and go have a ball!

Video of "Whose Got the Pain?" here.