Shrek: The Empress Theatre

I recently reviewed Shrek the Musical at the Empress Theatre for Front Row Reviewers Utah.

Have you ever wished that someone would get to know you before judging you? Have you ever wished you had a chance to show someone who you are inside?  Shrek the Musical at The Empress Theatre in Magna is one of those stories that everyone can relate to – the exterior is exuberant characters and jokes, while the interior shows us that the very best parts of us are those that make us different.

If you'd like to read more, please do so here.

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. 

New York City and Me - Two Weeks of 2014

Many of you have asked about my recent adventures in New York City.  I hope these pictures are a good tease!

Twelve Angry Jurors: Midvale Arts Council

"...You've listened to a long and complex case, murder in the first degree. Premeditated murder is the most serious charge tried in our criminal courts. You've listened to the testimony, you've had the law read to you and interpreted as it applies in this case, it's now your duty to sit down and try to separate the facts from the fancy. One man is dead, another man's life is at stake, if there's a reasonable doubt in your minds as to the guilt of the accused... then you must bring me a verdict of "Not Guilty". If, however, there's no reasonable doubt, then you must, in good conscience, find the accused "Guilty". However you decide, your verdict must be unanimous. In the event that you find the accused "Guilty", the bench will not entertain a recommendation for mercy. The death sentence is mandatory in this case. You're faced with a grave responsibility, thank you, gentlemen."

 And so the audience is introduced to what they will witness in the following hour plus a few minutes of deliberation amongst twelve jurors.  This show is adapted from Twelve Angry Men to accommodate the inclusion of both men and women.  I've seen both versions and it bothers me that angry men are seen as passionate, while angry women are more often seen as wenches.  Throughout this production, you see that in spite of the stubbornness and preconceived notions of the jurors, they are all somewhat open-minded to possibilities that life exists beyond their prejudices.  

To read the remainder of this review, go here. 

Photo Courtesy of www.midvalearts.com

What Surprises did I Face in the First Few Months of Marriage?

For those of you who have not yet seen my guest blog for The Cultural Hall, here is a little teaser.

Four months.
That’s how long I’ve had to figure out this whole marriage mystery – life with the blinders off as some would say.
Many have asked what has surprised me most about marriage.  Most of the answers that immediately start scrolling the news banner in my brain would either be of such saccharine mush that the askers would surely lose their recently consumed sugar that all the crap has been blessed out of, or be improprietous at best.
Thirty-Three Years.
That’s how long I’ve had to listen to all of the conversations and advice on all of the marital surprises or lack thereof.
So, what is most surprising?

Check out the post here to find out!

Reviewing Shows vs Previewing Shows

More than reviewing shows in Utah, I love to preview them.  

Sometimes an outside set of eyes sees something that a person heavily involved in the show doesn't see after two months of daily rehearsals.

I've been asked to review several shows and I have a blast thinking that someone out there may value my opinion. 

However, I've also been asked to see a couple of shows a week or two before they open.  Why?  To share my feedback on what is or isn't working.  I love this so much more than reviewing.

Previewing a show is certainly more entertaining in it's own right, but not for value of the show.  I like to see how hard people are working and the human side of the actors.  Most of all, I like knowing that what I have to share with them can actually make a difference in the quality of the show.  We all love reviews when they are good.  What about when they are bad?  The worst feeling for me is when I have something negative to say about a show and I know it could have been fixed prior to the show opening.  How can you give constructive criticism when all of the construction is already finished?

I'm not an expert, let me be clear on that.  I think my lack of "being an expert" is just what makes my observations poignant.  How many people seeing community theater in Utah are experts?  How many people are folks who know a thing or two about theater and simply enjoy the show?  I have quite a lengthy list of experiences both on and off the stage for over 20 years and I have seen over 100 Broadway productions in New York City - this doesn't make me an expert, but it sure does give me an eye for a good performance. 

I love reviewing shows, however, if anyone out there ever wants another pair of eyes at any point in the rehearsal process, I'd love to come and give my two cents.  I love making a difference.

Photo courtesy of: http://www.centuryvillagecondoforsale.com/theater-and-entertainment/

 

The Standing Ovation Phenomenon in Utah

If a production absolutely knocks you off your feet, then you get on your feet at the end of the show to applaud.  This is what we call a "standing ovation."

I have participated in audiences from L.A. to San Francisco to Alaska to Hawaii to New York City (dozens) to Ohio to Florida to even Branson, Missouri...you get the picture.  I've seen more than my fair share of productions.

Utah audiences have this unique approach to the standing ovation, the likes of which I have encountered nowhere else.  I think it would be fair to state that at the conclusion of an artist's performance, the audience milks it more than the actual performer.  They have this innate know-how and drive to get exactly what they want - more performing.

Here's how it goes in Utah:
1. Performer (theater, concert, or otherwise) gives their best performance and concludes their performance
2. Audience jumps to their feet and claps in uproarious thunder, regardless of if the performance was actually good or not
     - Shouldn't a performance be noteworthy to earn such a special kind of applause?
3. Performer re-enters the stage for the encore
     - Most performers are all-too familiar with the encore and have one prepared
     - After encore #1 is when most audiences know the show is complete
4. Utah audience continues to clap as if trying to shake down the rains from heaven
     - Performer re-enters and performs yet a second encore, most at least have a trick
       up their sleeves
5. Utah audience continues to clap with all the gusto of a stampeding heard of buffalo
     - Performer re-enters and most often will say they don't have another encore
       prepared, thank you, and please go home
6. Utah audience still doesn't get it until the lights in the theater come up and the stage begins to clear of anything that resembles a performer

I have actually seen five encores before while attending the performance of a Broadway diva with the Utah Symphony.  Five!  Can you imagine?

I'm curious as to how this all started.  How did Utah audiences start clapping and never stop?  How do they all seem to just know they should do this? 

Image from inc.com

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

Past Year's Resolutions: 2013

What did I accomplish this year?

Every year I ask myself this question and make my retrospective resolutions for the year.  Hindsight is 20/20.  And I think it is much more uplifting to reflect and think, "Wow- I did that!" than to think, "I didn't meet two of my ten goals.  I'm a failure."  Know what I'm saying?  

In no particular order:

1. Get engaged
2. Get MARRIED!!!!  And consequently have many, many celebrations of a lifetime and feelings of love, joy, and all things overwhelming that I cannot possibly describe
3. Visit NYC with the love of my life and his friends (and quite literally rub shoulders with Jake Gyllenhaal at the musical Matilda)
4. Meet and have a conversation with Steven Spielberg
5. Be a homeowner (with my *gulp* husband)!
6. Be on a Broadway Stage (The Foxwoods Theatre to be exact)
7. Hang out with a Tony Award nominee
8. Be a choreographer
9. Be a fairy godmother
10. Move
11. Order my first Polish Sausage for my own consumption, of my own free will
12. Quit my stable, well-benefited job of nearly six years to work with my husband on his business, Life of the Party Entertainment - big, fat, huge, crazy leap of faith! But maybe not that crazy - I made sure to have at least one year's worth of living expenses saved before I took that jump.
13. Maintain my six-times weekly dates with Gym
14. Be a nun again 
15. Attend Sundance Film Festival for the first time - having conversations with the likes of Jim Rash and Jerusha Hess
16. Help two of my dear, amazing friends on their wedding days
17. Visit Disneyland, Las Vegas (3 times), Shakespeare Festival, Ohio, Boise, and Arches (my first time)
18. Bake almost all the desserts for the Off Broadway Theater Fundraiser in Downtown SLC in May
19. Go skiing for the first and second times
20. Have my cat shaved into a lion cut - twice.  Trust me, this is noteworthy and hilarious.

Resolutions of Year's Past
2012
2011
2010
2009
2008 

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