SANDY — I haven’t seen a Hunt Mysteries production for about a year and a half.  Based on my last experience, I was expecting an interactive show with mediocre talent to accompany my dinner.  Fun, but a bit laborious at times.  Thankfully, that wasn’t the case with this show.  I’m thrilled to say that The Revolutions of Our Lives was thoroughly entertaining from start to finish!

As its title suggests, the murder mystery takes place on the set of a soap opera – the perfect breeding ground for unexpected plot twists and emotional outbursts, where the overacting is intentional.  The audience played the part of producers who were watching the recording session for the soap’s season finale.  Some audience members were given the chance to volunteer for a more substantial role, receiving speaking lines or appearing in musical numbers as backup dancers.  The printed guide on the table encouraged the audience to not worry about solving the murder until the end.  Relieved at the thought of not having to try and catch obscure clues, I turned my attention to the talent of the actors.

You really have to appreciate the improvisational skills of the cast.  They introduced themselves one at a time at the tables before the show even began.  As I ate my salad, I learned how the characters interact with each other.  I was a little bold in getting to know them, and asked probing questions which only proved how well the actors were able to stay in character.  They were well prepared, and had plenty to say when no one at the table did.  And yes, they did have some awkward moments, which gave me and my date something to talk about to the strangers sharing our table.

The improvisation didn’t end when the show started.  In fact, I had a hard time deciding where to define the difference between script and improv.  It certainly helped that two of the actors, Kelland Davis (playing Lance Issygay) and Caleb Parry (as Jethro Hasselhoff), currently perform with a local improv troupe.  They even incorporated a few familiar improv games into the script (Accents, Hecklers)!  My favorite scene was when Sheri Gillies (in the role of Lucinda Petitediva) delivered a witty Mary Poppins impersonation, thanks to an audience suggestion.

The music was smart, and the singing wasn’t bad.  The songs were clever and packed with humor that had the audience howling with laughter – myself included.  Keep in mind that the music isn’t about vocal technique, and the choreography is by no means professional.  It’s all about character, and it was delivered beautifully.  Diana Moore (Regina Deeva) impressed with “It’s Hard to be a Diva.”  And Josh Robinson’s (Chris Emoten) physical tantrum during “Tainted Love” was absolutely hysterical.  And I have to admit, I wasn’t expecting to hear such a great voice come out of Devin Turner (Cam the Camera Man).

I understand that Hunt Mysteries has had a history of sound problems.  If what I’ve read from recent reviews is true, then they’ve either acquired better equipment, or I had a really lucky night.  I didn’t detect any technical problems other than a very brief stint of mic popping and one cast member singing louder than the mic’s threshold would allow on a couple notes.

I finished my meal just as it was time to solve the mystery.  The audience was instructed to get out of their seats and interrogate the suspects.  Only the murderer was allowed to lie.  We were provided with suggested questions, in case we weren’t able to come up with our own.  The provided questions point you in the right direction, but it’s up to you to ask the right questions to the right characters in order to get the evidence you need to solve the mystery.  I didn’t crack this case, but there were several audience members who did.  Three of them received prizes for correctly identifying the who, how, and why, while I remain jealous.

I know I’ve been underwhelmed by Hunt Mysteries productions in the past, but I can’t stop thinking about how much fun I had at The Revolutions of Our Lives.  The jokes weren’t forced, and the comedy was gold.  The environment was pleasant, and the cast was inclusive.  I know some people—not I—feel uncomfortable with that level of audience interaction.  But unless you think you’re one of them, I suggest you see for yourself what I’m talking about.

OGDEN — Tucked away amongst a strip of stores on Washington Blvd in South Ogden is a seemingly incongruous addition to the neighborhood.  The storefront is inviting, with bright lights and a welcoming ambiance, and a marquee that proudly proclaims that this is home of the newest member of the local theatre community, the Ziegfeld Theater.  Last Saturday night I made my first visit to “the Zig,” as they call themselves, and was not disappointed in their holiday offering, Irving Berlin’s White Christmas, the Musical.

Show closes December 22, 2012.

Those familiar with the classic movie of the same title starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Ellen will have no trouble following the plot.  Performing partners Bob Wallace and Phil Davis hook up with a sister act, Betty and Judy Haynes, and make their way to Vermont for the holidays, first in an attempt to get Bob and Betty to fall in love, and later to help out Wallace and Davis’ old commanding officer from World War II who runs an inn that has fallen on hard times.  In this stage production, helmed by Emilie Starr in her directorial debut, the cast featured many names that will be familiar to local community theatre audiences, including many who hail from the Weber State Theatre program.

The company was led by Trevor Dean as Bob Wallace and Aleczander Ammon as Phil Davis; Betty and Judy Haynes were played by Rachel Shull and Erica Choffel respectively. All four actors are products of Weber State.  In reading the cast biographies in the playbill, the university was mentioned so frequently that the entire production had a slight feel of, “Hey gang! My college buddies opened this theater down the road, let’s go and help them put on a musical!”  But the company had a goodhearted camaraderie and solidarity that comes when a group of people are united in a cause and working their tails off for something they believe in.

Dean and Shull didn’t have very intense connection onstage. Sparks should fly, first from attraction and then anger, right from the beginning. Alas, there wasn’t much of either between them. But both performers have beautiful voices and led the cast in some lovely classic songs from the Irving Berlin catalogue.  Music director David Knowles put together a lush sounding cast that lends itself well to these old favorites including “Snow,” “Blue  Skies,” “The Best Things Happen While We’re Dancing,” and “Sisters.”  Rachel Shull’s vocals were especially poignant in “Love, You Didn’t Do Right by Me,” and Trevor Dean lived up nicely to the Crosby standard “White Christmas.”  While he’s not quite the charismatic crooner old Bing was, Dean does a nice job and the audience didn’t take much urging to sing along.  The warm fuzzies were in abundance.

The choreography by Joshua Robinson was engaging and appealing. The ensemble was hardworking and committed, and looked as if they were having fun.  “Let Yourself Go” and “I Love a Piano” were fun big chorus numbers, and it was nice to see some tap dancing again on stage in this show.  “The Best Things Happen While You’re Dancing” should have been a show stopper, and had some fun elements, but was just too long for Phil and Judy (Ammon and Choffel) to pull off on their own.  That number and one or two others would have benefitted from some judicious editing of the score.

The number called “Blue Skies” was the most entertaining, primarily because of the subplot literally running through it: Martha, who runs the front desk at the inn, (played by Susan Wilhelm) has been hiding the overdue bill notices from General Waverly (Raymond Rounds), but he has finally figured out the deception.  He chases her all over the stage as she ducks behind dancers and props and even the General’s granddaughter Susan (Ella Spurlock), giving the already uptight stage manager Mike (Colton Ward) a fit of apoplexy. I must admit that I watched the antics of Martha and the General more than the actual choreography during the song.  The number (and the act) ends in a shower of bills flying in the air as the General finally catches up to her and demands an explanation.  Martha has the funniest lines and asides in the show, and Wilhelm does a nice job delivering them.  She certainly got the most laughs.

The costume design by Joshua Robinson and set design by Caleb Parry reflected some of the struggles of a new theatre company getting on its feet, without a lot in stock from past shows or money in the budget.  Costumes were a bit hodgepodge and sets were minimal, but mostly served the plot.  The standard white button-down shirt and black pants made many appearances in various costume incarnations, alternated at times with sweaters or scarves. For the most part the costume styles weren’t too distracting, although the costumes were sometimes a bit monotonous.  The exception was the unfortunate and unflattering decision to have every woman in the ensemble tie their shirttails up at one point and appear with bared midriffs.  Not a becoming choice for most women, even with a body stocking.

All in all, the Ziegfeld Theater’s White Christmas is an entertaining, enjoyable opportunity to experience an old Christmas staple in a new setting, to sing along, to enjoy fun dancing and to support a young local theatre group. Besides, it’s not A Christmas Carol, so that’s already one point in its favor.

OGDEN — I grew up watching the movie adaption of Robert Harding’s Steel Magnolias, so I was familiar with the play going into the Ziegfeld Theater’s production. But despite the fact that the movie’s portrayals are what immediately come to mind when I think of each character—Julie Roberts as Shelby, Dolly Parton as Truvy, Sally Field as M’Lynn, to name a few—the Zig’s cast members were able to stand on their own and create interesting and original characters with the same material.

Show closes June 1, 2013.

In case you aren’t as familiar with Steel Magnolias as I am, the entire play takes place in Truvy’s beauty parlor and has just six characters—girlfriends who meet often at Truvy’s parlor. The show is all about relationships, particularly a poignant one between a mother, M’Lynn, and her diabetic daughter, Shelby.

At the Zig, Kristin Parry as M’Lynn and Krystal Day as Shelby were a believable and touching mother-daughter duo. The pair have emotionally intimate scenes together, and both women acted them beautifully, particularly during the scene in which Shelby tells her mother big news that M’Lynn is not so happy about. The tension and love between the two characters was well expressed by both actresses, an important plus as their relationship is at the heart of this play.

Because Steel Magnolias is all about human connections, it is critical that the actresses work off of one another and have great chemistry—which the performers at the Zig definitely did. Director Morgan Parry and assistant director Rick Rea did a stellar job of helping the actresses form a cohesive cast. The show has emotional major highs and lows—often in the same scene—which require quick timing and the ability to interact well with each other. Thanks in large part to the cast’s bond, no jokes fell flat, and the more dramatic moments were believable and deeply moving shared moments between the performers.

Though each actress held her own, Kristin Parry as M’Lynn was my favorite of the night. M’Lynn is a complicated character to play—serious but with a sharp sense of humor and wit, as well as highly invested in her daughter’s well-being while also keeping a steady keel. Parry portrays the many sides of M’Lynn splendidly and even in the more dramatic moments—like M’Lynn’s emotional breakdown in the final scene of the play—Parry stays true to the character’s mannerisms, gestures, and motivations.

As far as comic relief goes, Erica Chofell as Annelle, Alyn Bone as Clairee, and Carol Thomas as Ouiser each excelled. Chofell’s Annelle was vulnerable, quirky, and hilariously awkward. I actually enjoyed Bone’s Clairee more than the classic movie’s version as Bone brought a greater depth of southern-slanted humor to the character. Bone also delivered the best punch lines of the night flawlessly, particularly during a second-act gossip session in which she is “reporting” on Ouiser’s supposed love-life with a man from Ouiser’s past. Ouiser herself as a character is always a solid choice for laughs and Thomas delivered, portraying a lovable but feisty Ouiser that was as fun as she was ornery.

Rachel Holdaway’s portrayal of Truvy took some warming up to. Her southern accent, particularly in the first scenes, was so on-again, off-again it was distracting, and she seemed to be playing the character too mildly for my taste. As the show went on, though, the social butterfly and outgoing beautician that is Truvy emerged and Holdaway’s accent remained consistent enough to no longer be an issue. Last but not least, Krystal Day’s Shelby was sweet, light, charismatic, and lovable—everything the character needs to be. Day’s buoyancy contrasted nicely with Parry’s more serious M’Lynn, and Day’s Shelby was an extremely likable character, almost forcing tears from the audience members as a result of the tragedies that befall her.

I have seen two shows at the Zig—Next to Normal and now Steel Magnolias—and both times I have been utterly impressed by the production quality. Though the theater appears bare-bones in its recycled audience seats and very basic surroundings and stage, the execution of technical elements seems consistently flawless. In this show in particular the sound was perfectly executed. At several points in the show there is a radio that the characters whack periodically to get music to play. Each time the characters hit the radio, the music was immediately and seamlessly on. While this may not seem like that big of a deal, it showed that the board operator, Keeyan Corbitt, knew what he was doing and followed closely along (which sometimes is not the case, unfortunately). It also shows that being “good enough” is not the goal of the people who run the Zig. I also appreciated the set (designed by Caleb Parry), though not fancy or extravagant, because it created just the right 1980’s beauty parlor vibe, complete with neon blue walls and 1980’s hair posters.

Overall, this show was an emotional rollercoaster ride in the best way. The quality of the production, particularly in the second act, was so high that I was fully engrossed in the world of the play, and I found myself rejoicing and mourning with the characters. I highly recommend the Zig’s production of Steel Magnolias for anyone looking for a superbly performed, entertaining, but also touching show. Just be prepared for a pleasant estrogen high—and of course bring some tissues!

Left to right: Alyn Bone (Clairee), Carol Thomas (Ouiser), Krystal Day (Shelby), Kristin Parry (M’Lynn), Erica Chofell (Annelle), and Rachel Holdaway (Truvy).

OGDEN — The Ziegfeld Theatre shows what good community should look like with its latest production of Spamalot. Though working with a small budget to put on a huge production such as this, the Ziegfeld focused on the story telling and the quality of the acting and performances, which made this an impressive and enjoyable evening. Many community theaters in the state with far larger budgets dedicate their time and resources to impressive sets and costumes, but too often neglect the storytelling and honesty in the acting, which are the key ingredient in making a production truly memorable. It was refreshing to see the Ziegfeld’s approach to Spamalot, and I easily forgave the sparse sets and costumes beacuse I was so engrossed in the world created by these fine actors and production team.

Show closes July 13, 2013.

Spamalot, with a book by Eric Idle and music by Eric Idle, John Du Prez, and Neil Innes, was a smash hit for years on Broadway, and tells the story of King Arthur, Lancelot, Guinevere, and many other familiar characters in an unusual way. The title of the show itself states that it was “lovingly ripped off from the motion picture Monty Python and the Holy Grail,” which is a popular comedy movies. Favorite characters, moments, and jokes from the original film come to life on stage, along with songs and scenes parodying everything from pop-culture to musical theatre itself. The musical is fast paced and filled with frequent breaks in the fourth wall and interacts so that the audience becomes active participants in the story.

Director Trent Cox successfully helped the actors to function as an ensemble and show real commitment to the various characters they played. The synergy created among the cast was contagious and lead to huge laughs throughout the evening. Cox did an excellent job of shaping the scenes and keeping the pace moving at just the right speed for this comedy. Cox was supported well by Rick Rea, the music director, and Kayln West, the choreographer. I liked West’s fun and energetic choreography and the pictures she created with each number. West’s choreography was also the main ingredient in the production’s frequent showstopper numbers, especially in “Run Away” and “Laker Girls Cheer.” Rea helped the actors to utilize a variety of vocal techniques to tell the story without compromising the quality of the singing. Rich harmonies and strong vocals from each of the lead actors made this production not just good, but on par with many of the more prestigious theatre companies in the area.

Cox made an unconventional yet successful choice to have six main actors essentially create all the characters in the show. These talented leads found different ways of creating each new character, and it was entertaining to see what accent or character would be created the next time a performer was on stage again. Andrew Cole played the main character—King Arthur—on a quest to find the Holy Grail. Andrew Cole was successful in this role as the noble, but often annoyed, monarch. Only occasionally were his sustained notes slightly off pitch, but on the whole Andrew Cole had a strong voice that was well suited for the role. His “I’m All Alone” was especially well done. Colton Ward as Patsy, Arthur’s loyal assistant, gave a flawless performance and was engaging to watch in every scene. I was impressed with how well he listened and responded to the other actors on stage. His reactions were appropriate for the character, and I always knew exactly what Patsy was thinking based on Ward’s facial expressions or body language. This is a real talent, given his large amount of stage time and the character’s relatively few spoken lines and the fact that Patsy served more as a support to the main action on stage. Ward’s powerful voice soared in his delivery of the title song “Always Look on the Bright Side of Life.”

Aaron Cole played primarily Lancelot, though also several other smaller roles of characters in the play. He was especially successful in “His Name is Lancelot,” and Aaron Cole worked well in his interactions with Herbert. However, it was Aaron Cole’s portrayal of the French Taunter that really impressed me. He made fully committed to the French caricature and delivered a perfect French accent. Jennifer Chadwick as the Lady of the Lake stole the show with many of her scenes. Her “Diva’s Lament” and “The Song that Goes Like This” were especially entertaining. Her soaring voice and great variety of vocal techniques combined with impeccable comedic timing made her a delight to watch. Her tribute to The Phantom of the Opera was another fun and well executed moment.

Cameron Kapetanov impressed me with how different he made each of his characters and his ability to make his scenes feel fresh, even though he had probably rehearsed them dozens of times. I enjoyed his choices as the character “Father” (who had an uncanny resemblance to Hagrid from Harry Potter) and his interactions with his son Herbert. As Sir Gallahad Cameron Kapetanov was especially enjoyable to watch in his delivery of “The Song that Goes Like This” as he worked so well with Chadwick. The two actors played off each other to create this riotously entertaining duet.

My favorite of Quinn Kapetanov’s four roles were Not Dead Fred and Prince Herbert. His expansive acting and great facial expressions in “I Am Not Dead Yet” were absolutely hilarious. As Prince Herbert, Quinn Kapetanov embraced the stereotype so very well as the—lets say “damsel in distress.” Herbert’s interactions with his father and not wanting to be married off to the beautiful princess and his strong interest in fashion and decorating really brought this character to life. Marc Nielsen played both Sir Robin and Brother Maynard. His clear voice and strong commitment to his choices in “You Won’t Succeed on Broadway” made this one of the most memorable and enjoyable numbers of the evening. He successful satirized a number of Broadway musicals from Fiddler on the Roof to Yentl with the premise being that a show “will not succeed on Broadway if you don’t have any Jews” and some jibes at Andrew Lloyd Webber humor that were especially funny for the musical theater aficionado.

The ensemble members on the whole did a nice job in the group numbers such as in “Laker Girls Cheer” and “The Holy Grail.” The dancing was strong and well executed, occasionally harmonies were slightly off and words were hard to understand. Clearer diction and stronger consonants would have fixed these issues. But in comparison to most community ensembles, the Spamalot cast was far above average.

As mentioned, the costumes (designed by Sarah Baldwin) were fairly basic and most of the set and props (designed by Patrick Brown), were made out of cardboard and styrofoam. However, this didn’t detract from the production and worked in some ways to create the shear silliness and satire of Spamalot. However, I did like the use of projections in the show and felt this enhanced the visual spectacle of the show. This worked particularly well in the “Voice of God” scene. The lighting design (by Austin Stephenson) provided a nice array of colors for many scenes. Occasionally, light cues were a little late or slightly off but will only improve and tighten as the run continues. However, his sound design was generally successful and the actors could clearly be heard over the music tracks.

I would strongly recommend this show as one of the best musical comedies currently running in Utah. The talented actors, the well written script, the fun music and dance numbers and the involvement of the audience throughout the evening had me laughing from beginning to end. There is never a dull moment or a weak scene, and each joke comes in succession one after another, satirizing musical theater, King Arthur and the Knights of the Round Table, Great Britain, gay marriage, and more. The show is well worth the drive to Ogden to see this hilarious comedy and you will come away uplifted with the message to “Always look on the Bright Side of Life.”

OGEDN — “Back by Popular Demand” reads the website advertisement for this production, and it is certainly true that Joseph and the Amazing Technicolor Dreamcoat is a very popular musical in Utah.  Having reviewed a production of Joseph just last summer, and having seen and participated in countless productions of the show in the past, one has a bit of uneasiness in approaching yet another Joseph interpretation.  Will it be similar to the ones I have seen previous?  Will I draw something new from it?  How will the actors live up to the shows I have seen before, or will they surpass expectations?  Can I give a fair review of the performance without bringing in my own personal experiences regarding the show? All of these things factor in when choosing to review a beloved play.

Show closees September 28, 2013.

The songs and story are so familiar that most of the audience will have seen another production, and even more likely would be able to sing word for word the entire show. The story is, of course, based off the bible story of Joseph, the favored son of Jacob.  If you can’t remember where to find the story in the Bible, the musical gives us a reminder that at least Potipher’s appearance can be found in “chapter 39 of Genesis.”  The story follows the reaction of Jacob’s other 11 sons to Joseph’s capabilities and the perceived favoritism of the father to this son. The musical was developed by Tim Rice (lyrics) and Andrew Lloyd Webber (music).  This was one of many projects by the duo, which include other shows such as Evita and Jesus Christ Superstar.

As the show began, I was pleased to see that for the first time in many years for me, there was only one narrator cast.  I have seen as many as six narrators in Joseph, and while that can lead to great harmonies, it also leads to picking favorites, getting distracted, and forgetting that the show is really about Joseph and his brothers.  However, the narrator is a difficult part, and can be quite tiring for one person, but Morgan Parry was up to the challenge from the start, and seemed to only get better as the night went on.  She was animated in her telling of the story, and also seemed to be able to step out of the limelight when it was time for the other characters to shine.  I in particular loved the opening of act two (“A Pharoah Story”), a moment when the narrator really gets to shine.  Parry did so well at that particular number I found myself wishing to hear it again.

In regards to the production itself, I want to point out that I was impressed by the sound and lighting.  The Ziegfeld Theatre company is housed in an old movie theater.  The atmosphere is fun and family oriented, with popcorn concessions and other nice touches. But a small theater can often feel cramped, and good sound systems difficult to install in such an old building.  However, Cameron Miller on sound and Joshua Winkler on lights really made the show come alive.  Having seen several summer productions with sound malfunctions, the performance of Joseph stands out as one with an excellent sound balance between the music and the performers.

I also enjoyed the set design and costuming.  One issue I have seen before in small theaters is putting too much on the stage, not allowing for the appropriate room for the performers to tell their story.  The set of Joseph was authentic, creative, yet not overbearing.  Austin Hull and Caleb Parry worked hard as scenic designers to ensure proper utilization of the space, especially for dance numbers. Another thing that I rarely notice was the excellence in the way of props.  In particular, the amusing way the props were used to further the story and add to the songs, such as “One More Angel in Heaven” and “A Pharaoh Story,” made the show fresh and interesting, so praises to the entire prop team.

In any production of Joseph, the quality of voices in the 11 brothers as well as their chemistry is essential to the success of the production.  These 11 brothers cast all had their unique capabilities, and their harmony was flawless.   I also loved the parody of other popular musical shows, such as the surprise audiences will enjoy during the song “Those Canaan Days.” As for Joseph himself, played by Jason Baldwin, his voice was excellent, and even more enjoyable was the innocence he brought to the character.  Joseph seemed to have a sense of humility that one might expect from a biblical character, but Baldwin also surprised me with the capability to hit the high notes with strength and conviction.

The choreography by Kacee Neff was one of the most enjoyable parts of the production.  During the song “One More Angel in Heaven,” the cast has highly physical and complicated steps and stunts, all within a small space, and all executed flawlessly.  Many of the other numbers exhibited the same level of entertainment.

Finally, a note on the production as a whole.  Years ago, I saw a production of Mamma Mia!, and I remember thinking, “Who cares about the story or even the music? The cast is having so much fun, I wish I were a part of that!”  I had the same thought last night at the Ziegfield.  Director Sarah Baldwin seemed to get the essence of what a community show like Joseph should be about:  An evening of entertainment for the community, and a few months of fun for the actors.  Not only do I suggest that people spend an evening out seeing this production, I would go so far as to say if you get a chance, audition for a show at the Ziegfield Theatre, because I have not seen a group of people have such a fun time in a long time.

OGDEN — “We love Christmas Carol as much as the next theater, and if the next theater (and the next, and the next . . .) didn’t produce it every single year, we might give it a shot! We’re thrilled to bring something different . . .” That’s the beginning of the online advertisement for Ken Ludwig’s ’Twas the Night Before Christmas at the Ziegfeld Theater. The Zig provided a nice family-friendly option if you want something a little goofy and also fairly original, instead of also doing a musical knockoff of classic Christmas movies. While ‘Twas the Night Before Christmas was enjoyable, just didn’t have enough holiday magic to be engrossing from start to finish.

Show closes December 23, 2013.

Ken Ludwig is a well-known name in many theaters for productions of Lend Me a Tenor, The Three Musketeers, or Crazy for You. ‘Twas the Night Before Christmas is a foray into theater for young audiences that still has doses of Ludwig’s farcical and adventure styles. Typical to many shows for children, audience participation plays a part in the action. Amos Mouse and Emily kick this show off by encouraging the audience to sing Christmas carols. Ludwig also added some fun farce notes with a lively chase and some mistaken identities. Other entertaining additions were a plane ride to the North Pole and a few carol raps. There were some scenes that drag a little, yet overall the script was entertaining, a little better wrapped than many youth shows, and fun to follow.

The hour-long show moved quickly but could have benefied from more dynamic direction from William Richardson, primarily in the use of the space and the actors. The show had a hard time trying to balance between how the actors on the proscenium stage were supposed to interact with each other and the large audience space. Richardson never quite figured out how to tie these two together. Generally inconsistent blocking accented this problem, leaving the actors to primarily stand in a line of three characters switching places at random without using the depth of the stage or the set dressings. When the farcical chase began, the actors were able to hit their marks even as they played multiple characters, but it was unfortunate that everyone was just running in whimsical circle instead of crossing paths more.

The scenic design by Caleb Parry was versatile in taking a basic unit set and being able to flip it from a house to Santa’s Workshop. I also enjoyed the imaginative airplane ride to the North Pole that used a little stage magic to set plane up, but then kept the actors in control of the tension. However, I was mostly disappointed that parts of the set were underused. There was little to no purpose for most of the material hanging on the walls (which were not heavily decorated enough to match the mood of the script). The creative team seem to only use the set dressing in a perfunctory manner, when they could have heightened tension, motivations, and comedic potential with some better use of the set and the actors.

The actors, however, were the hot cocoa and cookies of a technically cold night. Allen Mccracken gives a great performance as Amos Mouse, a 6-foot-tall scared mouse who serves as a great main character. Mccracken had the profound ability to make naiveté an enjoyable comedic experience. He did get a little stuck in caricature, but really being a show for kids, the lack of a dramatic depth was fine and he drove most of the show. Amos Mouse’s twin brother from Kansas (also played by Mccracken) was a pleasant cowboy who added to the farce of the show. Mccracken’s performance differentiated the characters well through comportment and gait, despite them being identical twins with the same name.

Liz Hernandez was delightful as an adventurous girl Emily. She coaxed the constantly worried Amos and kept that wide-eyed wonder a natural occurrence. She performed the laudable job of not making a high-pitched child annoying or squealing. Alyn Bone played Calliope, a Jewish elf who doesn’t work on Hanukkah or Friday nights. Bone was bubbling with energy that really fit the tireless work of elves. However, this energy was perhaps the most lost when Richardson’s blocking stagnated, as Calliope needed someplace to go or do, and yet was stuck center stage. The best comic relief of the night was when Mccracken, Bone, and Hernandez performed a couple of intense raps. I mean, aren’t clean Christmas raps a pleasant change from Bing Crosby and renditions of the “Hallelujah Chorus”?

Other actors in the cast all had to play multiple characters. Lloyd Parry had a delightfully staunch and “wise” Uncle Brierly. He read eloquently and was bristling with frustration as Amos danced with “Pigeons and sugarplums.” Lloyd Parry made a good villain as Sir Guy, the disgraced elf trying to steal the naughty/nice list from Santa for his own means. I did wish his sword fighting were a little flashier and his monologues a little more peppy, as this character’s explanations tend to drag, but Parry performed Sir Guy nicely. Mulch (Tim White) made an entertaining addition as Sir Guy’s clueless henchmen. Yet more impressive was White’s quick changes to Santa in midst of so much ruckus.

The farcical moments and good catch lines were well executed by all of the actors. ‘Twas the Night Before Christmas is fun and full of energy with delightful characters and witty lines. There is some poor direction, but the play is a nice little goofy show that the kids will like and has just enough laughs for the grown-ups. Plus you might be able to meet Santa afterwards.

OGDEN — Before the start of the Ziegfeld theater’s Light in the Piazza, the artistic director came on stage and talked a little bit about their mission, which is to raise the bar of community theater quality.  While I can’t say that the bar has necessarily needed to be raised (Utah produces some excellent community theater), the Ziegfeld’s Light in the Piazza does not disappoint.

Show closes February 15, 2014.

The award-winning 2005 musical is, in many ways, a nostalgic romance reminiscent of the golden age of cinema.  The show opens on Margaret and Clara, a mother daughter team vacationing in sunlit Florence.  They are both in love—with the culture, with the art—when a mischievous gust of wind sweeps Clara’s hat right off her head and into the hands of a dreamy Italian, Fabrizio.  Clara is smitten.  Margaret is determined.  Under no circumstances will her daughter be allowed an Italian lover.

But Fabrizio is not deterred.  Using information from a friend who works at the women’s hotel, he follows the pair to every tourist stop in an effort to gain a few more minutes in her company.  Obstacles are gradually overcome as Fabrizio enlists the aid of his father and family to win over the stoic Margaret.  As the relationship develops and Fabrizio and Clara fall deeper in love, it becomes apparent that Margaret knows more than she’s telling, and that her fear of a long-term romance is based on more than the usual motherly worry.

Perhaps the strongest element of the show is Adam Guettel’s sweeping score, and music director Rick Rea has made the most of it by assembling an excellent 6-piece ensemble.  The live strings added a needed lushness to the score, and allowed the actors liberty to interpret the music in the moment.

On the subject of actors, director Morgan Parry has assembled a strong cast.  Lindsea Garside shines as Clara, bringing her to life with the right mixture of sweetness and child-like stubbornness.  Her rendition of “Light in the Piazza” was touching yet believable, and her angry outburst in “Clara’s Interlude” was one of the better moments of the night.  Scott Stuart makes a charming Fabrizio, with a voice that soars on ballads like “Love to Me.” Fabrizio has a difficult vocal part, and Stuart occasionally struggled to maintain his character on difficult passages in songs like “Il Mundo Era Vuoto,” but his energy and vocal power easily compensated for any deficiencies.

In the supporting cast, David Knowles’s portrayal of Fabrizio’s philandering brother Giuseppe was a standout.  While Craig Lucas‘s script has Giuseppe speaking Italian most of the time, the meaning was never lost. In one scene he and his father (Caleb Parry) tease Fabrizio about Clara, and in spite of the language barrier, it was a funny and well executed scene.  As Giuseppe’s wife, Heidi Hunt effectively portrays the character’s jealous side, yet tempers it with some empathy and maternal instinct.

However, in spite of a strong supporting cast, the night belonged to Rachel Shull as Margaret Johnson.  A grounded actress and an accomplished singer, Shull won my sympathy from the first to the last.  Her witty asides to the audience never failed to solicit a laugh, and her understated interpretation of “Dividing Day” is thoroughly heartbreaking.  As Clara and Fabrizio’s love begins, the audience watches her own marriage thoroughly unravel through a series of phone calls with her husband, played with a believable diffidence by Troy Hone.  Shull carries the audience through a terrific character arc, from a closed realist to a cautious romantic.

The set, designed by Rick Rea, makes good use of a small space.  While the whirling pillars occasionally distracted, they effectively communicated changes of location while creating a distinctly Italian setting.  Parry uses the flexible set to her advantage with smart staging choices.  The rapidly changing pillar formations create a real sense of urgency in Clara’s hysteria, and the set changes allowed the show to flow seamlessly from one scene to the next.  Austin Stephenson’s lighting creates a romantic setting and appropriately enhances the action.  The use of silhouettes in the song “Auitami” is visually striking and makes that song truly pop.

There are small critiques can be made.  The ensemble often distracts with an acting style that is much more farcical and showy than the grounded realism employed by the principal characters.  In one particular scene, an old woman walks across the stage wide eyed and deadpan, and while the moment solicited a laugh, it pulled focus from the more important development of Clara’s character.  Alina Gatrelle’s generally consistent and lovely costumes were hindered by a few distracting pieces, and old age makeup is applied more effectively to some actors than others

But these specifics are more a question of budget than artistic talent, and the Ziegfeld’s production delivers in every area that counts.  The effective direction, talented cast, and excellent orchestra make this an impressive community production.  I was moved more than once, and if you have an appreciation for beautiful music, or simply want to be carried away  by a love story set in the most romantic place on earth, get down to the Ziegfeld to see The Light in the Piazza.

OGDEN — I’ve long felt like a poser in the theater world because (confession time) I’d never seen a Sondheim play. I know. Shameful. So it was with great anticipation I attended Stephen Sondheim’s Into the Woods at The Ziegfeld Theater.

Show closes May 10, 2014.

For those unfamiliar with its plot, Into the Woods is a collection of fairy tales strung together with a distinctly Sondheim twist. The story is tied together by a childless baker and his wife who consult a witch to find a cure for their barrenness. The witch sends the couple into the woods in search of four rare objects, upon the receipt of which she will grant them their wish. Played by real-life husband and wife Caleb and Morgan Parry, the baker and wife had the vocal talent and visible rapport needed to guide the audience through Sondheim’s musical tour of the fairy tale world. Rachel Shull’s powerful vocals and dramatic versatility made the witch interesting instead of the kind of rote storybook villain who is evil for the sake of uncomplicated evil.

Along the way, the couple encounters Jack (of bean-stock fame), Cinderella, Little Red Ridinghood, and Rapunzel. Jack and his mother were each played to comic effect, as Nathan Vaughn’s wide-eyed naiveté contrasted Natalia Noble’s hot-tempered cynicism. Erica Choffel’s charismatic portrayal of Cinderalla easily won my sympathies. Hailey Weeks’s loud-mouthed impetuosity as Little Red Ridinghood always made me laugh. Kassy Winkler’s Rapunzel was melodramatic in the exact way you’d expect of a girl who’d only ever interacted with her emotionally abusive witch of a foster-mother. And the princes playing opposite Cinderella and Rapunzel (Aaron Ross and Daniel Pack) were every bit as pompous as they were charming.

Even the minor characters were impressively portrayed. Cinderella’s family (father Andrew Cole, stepmother Becky Cole, and stepsisters Breann Johnson and Amberle Stoffers) each delivered their own brand of narcissism. The three little pigs (Crystal Field, Kelly Wideman, and Caden Thomas) were hilariously choreographed (choreography by Rick Rea and Josh White) and charming in their double roles as Snow White, Sleeping Beauty, and the golden hen. Without uttering a word, Jack’s very apathetic cow (Chandler Ward) earned at least as many laughs as any other character. And Cameron Kapetanov dramatic appearances brought a flourish to rest of the action.

Director Rick Rea did everything right. The casting was perfect, the choreography was delightful, and the set was exactly what the play called for. Every note was on pitch with a rich, full sound that was pleasant to listen to. Every performer’s vocal quality and dramatic talent fit their role. I wouldn’t have changed a single performance in any way.

The set was simple: just a few paper trees to the sides and back of the stage, a lighted paper moon, and a path that rose across the back of the stage (Brandon Bills and Erica Choffel). Besides that, a few pieces of furniture were occasionally used to suggest a change of scene (props by Kelly Wideman). The paper moon and backdrop were beautifully lighted with changing intensity to suggest changes in time of day (Austin Stephenson, Chelsea Winters). Costumes (Derek Williamson) were eclectic, with modern and medieval articles mingled willy-nilly. Only the pompous princes stuck to their conventionally gaudy costumes. The animals’ costumes were fairly simple and allowed for humorous anthropomorphism: a loose golden vest for the golden hen, a strap-on udder for Jack’s cow, ears and noses for the three pigs. Makeup and prosthetics (Alina Gatrell and B. J. Whimpey) were used effectively to add to each character’s persona.

My only criticism of the entire play was audio balance (Austin Stephenson). Sometimes the backing audio overpowered the vocals. This meant some of Sondheim’s wit-packed lyrics were hard to understand, which was a bit disappointing. Overall, though, I’d recommend Ziefeld Theater’s Into the Woods to Sondheim novices and aficionados alike. The cast and crew delivered Sondheim’s mix of music and comedy, morality and consequences so engrossingly that the evening sped by. They left me excited both to see more Sondheim and to see whatever The Ziefeld Theater puts on next.

OGDEN — There are times that a show comes along that you think can’t possibly live up to either memories of past productions or of a production that you have seen previously. You can’t imagine that they have the resources, the talent, or the space to really mount a quality production. But every once in a while, you get that wonderful experience of seeing a show that so outshines your expectations that you can’t believe your good fortune.  Such is the case with The Ziegfeld Theater’s The Producers.

Show closes September 6, 2014.

In this show, a down and out producer conceives a plan to find a play so bad it won’t last past opening night, then raise an outrageous amount of money so that when the show fails, he’ll be rich by pocketing the extra cash. The Producers was originally an Academy Award winning film by Mel Brooks, who years later adapted it to the Tony award winning Broadway musical, after which it was subsequently readapted into a musical film.

This show requires two great actors and comedians in the two lead roles, and Cameron Kapetanov as Max Bialystock and Daniel Pack as Leo Bloom are perfectly matched. There was not a moment when I didn’t feel they were totally committed to the characters.  There were several moments in the show where there was a slight mistake or a set piece fell over, and both actors were able to acknowledge it without breaking character.  If these were planned mistakes, they did them right because they felt totally spontaneous. The rapport they had onstage was perfectly balanced to the show, and neither of them took focus from the other.

Talese Hunt as Ulla was another phenomenal performer. She is an amazing dancer and has great comic timing.  Some of the later part of her first song, “When You Got It, Flaunt It,” was a little strained, but she was very skilled in her dance numbers. Quinn Kapetanov as Roger de Bris was one of the highlights of the show when playing Adolph Hitler.  His solo in “Springtime for Hitler” was one of the funniest parts of the whole evening. Quinn Kapetanov attacked the role with incredibly high energy.  His parts as Roger de Bris seemed to break the fourth wall sometimes (as if he were winking at the audience), but that was a minor critique. But the person who almost stole the show was BJ Whimpey as Franz Liebkind.  He commanded focus in every one of his numbers; “Haben Sie gehört das Deutche band?” was a particular show stopper.

Rick Rea did a monumental job of directing this show, keeping the pace up and constantly flowing from one scene to the next. The stage at the Ziegfeld is not large, and this show has many scene changes. Each scene change was handled deftly and without incident. Most shows would have ground to a halt in these shifts, but at the Ziegfeld the transitions were smartly done. The scenic design by Rick Rea, Quinn Kapatenov and Caleb Parry was surprisingly well suited to the show. The costumes design Becky Jean Cole was rich, lush, and much better than is seen in most community theater productions, in particular the Broadway Babes costumes.

A major aspect of the show that was problematic was the sound design by Alex Thedell. The recorded accompaniment was played loudly, while the body mikes on the performers were set at a much lower level (if they were working at all). Through most of the show, the songs were hard to understand, and a lot of the lyrics were lost because the balance was so far off. I kept hoping that the sound booth would hear that and adjust either the mikes, the accompaniment or both, but sadly this only happened once. Hopefully they will iron out the problems with the sound and the remaining performances reach their full potential. My only other complaint is something that I have seen too much of lately: unprepared and rambling curtain speeches before the show.  Please, please, plan what you need to say, or make a recorded voice-over.  The rambling curtain speeches at amateur theatre companies around the state must stop.

The Ziegfeld Theater has only been around for a couple of years, and they are slowly renovating the building bit by bit. They have a great space.  The façade is the last part they are working on now, and the lobby and theater are looking great. They are really building a great home for the arts in Ogden. This was my first time attending a show at the Ziegfeld Theater, and based on this show alone, it will not be my last.  If you are any fan of Mel Brooks or The Producers, I recommend that readers do themselves a favor and see this show. But take a tip from the pre-show announcement: If dirty old ladies offend you, you have been warned.

OGDEN — The popular musical Fiddler on the Roof has been done in many professional, semi-professional, community, and school theaters in the 50 years since its debut on Broadway. The reason for this is quite simple. Though the tale is of a Russian Jewish family in 1905, the morals that encompass the story are quite universal. Every family and every culture struggle with honoring the traditions that have shaped them as a people and balancing the changes and challenges that come up as life progresses in front of them. The script (by Joseph Stein), with music by Jerry Bock and lyrics by Sheldon Harnick) is full of beautiful symbolism of faith, family, learning to adjust, and the pain, sorrow, and joy that society experiences while learning to accept change. In addition, the story’s setting allows audiences to remember the atrocities the human race is capable of placing upon each other when we focus on differences rather than content of character.

Show closes March 7, 2015.

The Ziegfeld’s rendition of this classic provides an excellent evening of entertainment. As Danny Price  began to play the first strains on his fiddle, I could tell that the staging and concepts set forth by director Caleb Parry were in harmony with the rich traditions that this show has come to represent through the ages. The set was simple, yet well chosen and designed also by Caleb Parry. When Layne Wilden made his first appearance as Tevye, and delivered the opening monologue regarding the Fiddler on the Roof, his demeanor and stage presence were already impressive. Throughout the show, Wilden delivered commanding and amazing performances, including a rendition of “If I were a Rich Man” that had the entire audience cheering. The role of Tevye is complicated, because it is he who goes through the most change as a character and helps the audience understand the dichotomy between the love of tradition and the love of family. Wilden’s monologues became progressively emotional as he made more and more difficult decisions regarding tradition and family and were some of the best scenes I have witnessed.

All of the main players in the show deserve recognition. As far as stand outs go, the role of Golde was masterfully played by Carolyn Stevens. Stevens showed a great deal of comedic timing as well as dramatic flair. I really enjoyed her interactions with Yente, played by Alina Gatrell. The scenes where the two discuss the welfare and the matches for the daughters sound exactly as one would imagine such conversations would go. In addition, the chemistry between Stevens and Wilden in the number “Do You Love Me?” was enchanting. Each of the daughters was quite endearing in the popular number “Matchmaker, Matchmaker,” with a beautiful blend of voices as well as believable characterization.

I truly enjoyed the choreography by Kacee Neff. This musical provides the opportunity for, dare I say, traditional choreography that is a match to the music. Neff worked hard to ensure that the choreography did its job of complementing the story while entertaining the audience. This was strong during the wedding scene, the fabulously choreographed “To Life” number, and the opening number “Tradition.” The cast members all deserve praise for the way they flawlessly executed each of these numbers.

No production is perfect, but I confess the only real disappointment I faced was a glitch in the microphone system that left Motel, played by Daniel Pack, without amplification during one of my favorite numbers, “Miracle of Miracles.” Pack did a superb job projecting the best he could, however I hope this flaw will be fixed for subsequent performances, as it was difficult to hear the entire number.

On a final note, before the performance began, the main players of the Ziegfeld, executive producer Morgan Parry, producer Rick Rea, and director Caleb Parry took a moment to discuss the remodel to the theatre’s façade, as well as to share with the audience the story of how they acquired the theatre and brought a new playhouse to the city of Ogden. I was touched by Rick Rea’s statement that they wanted to provide a place where actors in Ogden could have a family, and a place to create art. As a creative team, they hoped that the audience could enjoy the art they created as much as those that created the art enjoyed becoming a family while working on the production. Much of theatre and performing arts is a labor of love, from the players, to the audience, to those of us who enjoy coming and critiquing. The Ziegfeld team also told about how they have a program to bring theatre into the Ogden inner city elementary schools, and that they offer a free preview night of their shows to junior high and high school students.

As an avid lover of the arts, I would like to pay homage to these programs and the love that this theatre is giving to its community. This is exactly what Utah Theatre Bloggers hopes to see: the growth and development of the Utah theatre community. The exciting thing about a show like Fiddler on the Roof is that not only is it one that everyone in the family can enjoy, but that it also brings up lessons and topics that families should be discussing together. I found the show highly entertaining and moving, and look forward to seeing the Ziegfeld continue to bring this caliber of production to the community.

OGDEN – In 2013 I reviewed Fairly Potter, a parody that played at the Ziegfeld Theater in Ogden and was written by Rick Rea. For their Christmas show this year, Rick Rea has returned to the Harry Potter Parody and infused it with classic Christmas tales, and a little spoof of some modern tales as well. Several of the cast have returned, and new faces have been added to this Christmas special. I can say that those who enjoyed Fairly Potter will certainly love this new installment. While it was quite witty and entertaining, the first installment had a bit more of a humorous kick to it, perhaps because of the novelty at that time which was now expected for me rather than surprising. For those who did not see the first installment of Fairly Potter, some of the jokes will probably seem as fresh and exciting as they did when the first show was produced.

A Fairly Potter Christmas Carol closes December 23rd.

The story follows the combining of the wizarding world of Harry Potter with the updating of the tale of Santa Clause to show that his powers may have come from the wizarding world. The take was amusing and interesting. The first thing that I noticed when coming into the theatre was the set, with the look of the Hogwarts castle decorated with Christmas lights and other props. I was very impressed with the set design by Caleb Parry, and felt that the set coupled with the lighting by Daniel Pack made for a very visually pleasing show. There was a scene where the lighting was changed to reflect the magic happening, which was an excellent way to involve the audience more fully into the feel of the story. Director Morgan Parry also made good choices in regards to using the stage space with the actors, and I found this especially interesting during the song “It’s Snowing” where several of the characters had scenes in succession, and the placement of each of the scenes was well thought out.

All of the characters had strong vocals, and the originality of the songs written by Rick Rea was impressive. My favorite musical number had to be “Wait Another Day” sung by Hermione, Ginny, and Pansy, played by Morgan Call, Eliza Haynie, and KelliAnn Johnson. The song was not only vocalized well, but the comedic timing between the three characters, as well as the supporting characters, was superb. Also the blending of harmonies in this song was perhaps the best of the night.

Draco and his crew, played by Bryan Andrews, Keegan Christensen, and Mejai Perry, made me want to go back and read the stories again with this new characterization, because I find it more amusing and interesting than the original characters. I was happy every time they came on stage.

This installment felt a bit longer than the first, and perhaps even too long in some points, such as right before the end of the first act. However, when the comedy was strong, it hit all the necessary elements in order to bring loud laughter from the audience. One of the best characters, a return from the first show, was Nagini the snake, played by Reeve Boyd. Each time he entered the stage, he was able to quietly and effectively steal the show with physical humor and facial expressions. It is impressive for the character with the fewest lines to be one of the best comedic actors of the evening.

Many of the jokes require at least a small knowledge of Harry Potter, as well as theater culture, movie culture, and Utah culture. Some of the best jokes in my opinion involved an absolutely excellent scene regarding orphans, the mocking of Kale, selfie sticks, and also a jab at other theatre companies in the valley.

This was a fun night of humor and Christmas cheer, a little different than what you might get anywhere else in the Utah theatre scene. The Ziegfeld has produced a lot of great shows this year, and it is nice to see them let their hair down and have a little fun to close out the year on a note of laughter.

Show closes September 3, 2016.

OGDEN — The Ziegfeld Theater has shown with past productions its ability to take on interesting material and make it right for the Ogden audience. This production of La Cage Aux Folles, directed by Morgan Parry, is no exception. La Cage Aux Folles is a Broadway musical with music and lyrics by Jerry Herman and a book by Harvey Fierstein. It is the only musical to have won the Best Musical Tony Award for the Original Broadway Production, plus two Best Revival Tony Awards.

The story is of a couple, Albin and Georges, a drag queen and a showman, who have been together many years and raised a son. This son is now engaged to be married, and afraid to introduce his fiancée and her family to his untraditional family. Audiences should pay attention to the plot and subject matter to determine if this is a show that they feel is appropriate to attend.

Daniel Pack as Jean-Michel and Kelly Wideman as Ann in The Ziegfeld Theater’s production of La Cage Aux Folles.

Doing a show that has a chorus of drag queens requires a strong showing of costume and makeup, to which costume designers Alina Gatrell and Dee Tua’one should be commended for their work. Gatrell and Tua’one also did makeup design, along with Joshua Robinson. The opening number, “We Are What We Are,” was enough to tell me that the costumes and makeup would be a strong part of this production. Additionally, the lighting design by Ryan Fallis was very fitting, especially in the song “La Cage Aux Folles” near the end of the first act. The color scheme choices during that song accentuated the costume design and made the number more enjoyable. There were a few, for lack of a better term, wardrobe malfunctions throughout the show, that hopefully the designers caught and will be able to adjust throughout the rest of the run.

Talese Hunt certainly deserves praise for the choreography in La Cage. Many of the songs are set on a cabaret stage, and the choreography Talese Hunt designed was entertaining and well-executed in all of the large numbers, with the finale being one of my favorites. Caleb Parry played Georges, father to Jean-Michael (Daniel Pack) and husband to Albin (Cameron Kapetanov). Caleb Parry did an excellent job of portraying a person torn between the love of his spouse and the love of his child. I was especially moved by the number “Look Over There,” where he helps his son see just how important Albin has been in his life. The performance of that song moved me and many of my seat companions to tears. Pack portrayed well the character of someone young and in love, anxious to impress, and perhaps a little unaware of those he may be hurting in the process. The tender song “Anne on my Arm” was played with just enough joy to appear real and not sappy.

Several of the supporting characters also provided excellent entertainment. Two of my favorites were Jacqueline, the socialite restaurant owner, played by Heidi Potter Hunt; and Jacob, the over the top butler played by Andrew Cole. Potter Hunt has a strong voice, and her role in the ensemble number of “The Best of Times is Now” was a wonderful addition to the strong choreography and energy of the whole company. Cole excelled at the role of comic relief, and I smiled each time he came on stage, knowing that I was to anticipate well executed jokes with strong comedic timing. Cole did not fail on either of these counts at any time during the show.

Caleb Parry as Georges and Cameron Kapetanov as Albin in The Ziegfeld Theater’s production of La Cage Aux Folles.

I have saved discussion of the character of Albin for the end. Kapetanov had a grasp on this role that I can honestly say I have rarely seen outside of professional equity theater. Eccentric, warm, and enjoyable, he portrayed a character that you would not only want to watch on stage, but that you would hope you could get the opportunity to sit down and have dinner with. At first, I was concerned that he was handling the character with just a little too much grace, as the story does turn to one of shame from his son regarding who Albin is. However, in the finale of act one, the well-known song “I Am What I Am” took on a whole new meaning for me, as I watched true pain in Kapetanov’s eyes and demeanor turn into a strength and resolve to not back down nor apologize for the person that he was. I was equally impressed throughout the whole second act, from the comedy in the song “Masculinity” to the joy in “The Best of Times is Now.” Kapetanov received a standing ovation, and while I sometimes feel audiences do this out of obligation for friends and family in the show, I will say that I gladly stood with the rest of the audience because this actor deserved that recognition.

I am impressed in general with the choices that the Ziegfeld makes as a theater and, like the story of La Cage Aux Folles, they appear to be exactly who they are, a theater who wants to provide a little something for everyone. The subject matter of La Cage Aux Folles is something that may make some audience goers uncomfortable; however, know that it is a story of love in all its forms: romantic, familial, friend, and foe. It was one of my favorite moments of Utah theatre this year.

Nunsense closes October 1, 2016.

OGDEN — The Ziegfeld Theatre‘s production of Dan Goggin‘s Nunsense is the sappy, light-hearted romp you’d expect from the title. The story is ridiculous and simple: after a tragic accidental poisoning of fifty-two of their nuns, the nineteen surviving Little Sisters of Hoboken need burial money for the last of their deceased sisters (whose bodies just happen to be currently stored in the deep freezer).

Five Hoboken nuns decide to host a fundraiser variety show, complete with solos, group numbers, a pop quiz, and even dancing. They don’t worry about the set as the eighth-graders at the nuns’ school, Mt. Saint Helen’s, are said to be practicing Grease. The set for Nunsense then is for Grease instead and reflects the low-budget simplicity of a group of eighth-grade performers: cut-out car and jukebox included. Kudos to set designer Erica Choffel for a believably kitschy design. The ensuing musical comedy runs as if the audience is actually attending to raise funds for the nuns (not see a play with actors at the Ziegfeld); there is no fourth wall, and audience referencing and participation is regular.

Carolyn Stevens as Reverend Mother

The Ziegfeld embraces the show’s unique format. The theatre lobby has posters and notices all from the Little Sisters of Hoboken, as if you really are at Mt. Saint Helen’s School auditorium. When you hand your ticket to the usher, he thanks you for coming to this fundraiser for the nuns. Soon after the audience is seated, the actors themselves start mingling with the audience as if they really were nuns grateful for the support. Even the opening theatre announcements—the general “no cell phones, no photography” run-down—is done by the Reverend Mother, Sister Mary Regina (played by Carolyn Stevens) as if she were using the school PA, with Mistress of Novices, Sister Mary Hubert (played by Allisha Larsen) there to help. These details add to the excitement and upbeat mood for this comedy.

Allisha Larsen as Sister Hubert

Though everyone in the small cast of five women performs well, Carolyn Stevens as Reverend Mother, Sister Mary Regina, is the glue that holds the show together. Stevens’ Reverend Mother is the perfect mother hen to the other sisters, and she delivers her comedic lines with timing and tone that make her seem real. A highlight of her performance is Stevens’ solo number, “Turn Up the Spotlight,” in which her storytelling through song is engaging. In addition to her vocal performance, Stevens convincingly pretends to balance on a tightrope in the middle of the stage. The show gets a little awkward when Reverend Mother accidentally gets high, not so much for the content but for the fact that the scene plays in my opinion as too one-note, with Stevens’ Reverend Mother acting excessively hyper and out-of-it throughout the scene.

Mariah House as Sister Robert Anne

Director Kristin Parry excelled at creating a believable, tight-knit energy between the cast. The humor overall plays well, but toward the end of the first act, when cast members sing, “Lilacs Bring Back Memories,” the pacing spurts and the jokes begin to feel flat. Perhaps if the cast created more levels in their humor and energy, instead of relying on the hyper-silliness that pervades the show, scenes like this one wouldn’t start to feel old too fast. This comedy is so full of jokes and funny moments that you really need relief from the comedy, moments like the refreshingly honest song, “Growing Up Catholic” that starts act 2. “Growing Up Catholic,” headlining Mariah House’s Sister Roberta Anne, is a lovely and heartfelt song that provides the calm interlude so needed amidst the over-the-top comedy. House sings the song beautifully and openly, and the other sisters maintain that tone when they join her.

Jennifer Chadwick as Sister Leo

Musically, the show excels under music director Hailey Weeks’ guidance. Because it is a variety show, the styles of the songs vary greatly. “Nunsense is Habit-Forming” is a fun example, starting as a traditional, chant-like harmonies evocative of sacred music, and then morphing into a Broadway-style number, accompanied by hilarious shimmying attempts (these are nuns after all) and line kicks. “The Drive In” is an “Andrews Sisters”-style song with a swinging feel and playful harmonies, masterfully performed by Sister Robert Anne (Mariah House), Sister Amnesia (Melissa Burke), and Sister Leo (Jennifer Chadwick). Pianist Jonathan McDonald, who remains onstage during the entire show dressed as a priest, gives a flawless performance and is the only accompaniment for the show.

The choreography by Jessica Hollingsworth is never too complex, making it believable that the nuns could have indeed come up with these dance numbers themselves. They aren’t perfect at dancing and the dancing isn’t always beautiful—but that’s kind of the point, when the whole premise of the show is that these amateurs are attempting to put on their first show. “Tackle That Temptation with a Time Step” is my favorite group dance number, as the nuns tap-dance and sing the message to stomp out temptation through tap. Sister Mary Leo, a nun who loves to dance and secretly wears tutus under her habit on occasion, has the most beautiful choreography, which is believable for the character. As Sister Leo, Jennifer Chadwick’s grace and style in movement are captivating, particularly during “Benedicite.”

Melissa Burke as Sister Amnesia

Technically, the show had some minor flaws the night I attended. Melissa Burke’s mic was on the fritz, which was especially unfortunately as Burke has an impressively clear, bright, and warm singing voice. The other microphones seemed to be operating perfectly, so I’m confident this was a glitch that will be remedied by sound designer Caleb Parry for future shows. The lighting design (by Daniel Pack) was simple but appropriate, with changing colors for backgrounds and spotlights to fit the mode of the current song. And of course, the costumes designed by Alina Gatrell are exactly as expected, the black and white habits of nuns and novices, with fun small details like “street-wise” Sister Robert Anne wearing sneakers rather than the common flats worn by the rest of the nuns.

Overall, Ziegfeld’s Nunsense is a quirky, uplifting, and funny musical that the entire family can enjoy. I recommend it to any patrons looking for a frolicking night out, but I do give the warning that the show’s songs are extremely catchy, and have in fact been playing through my head all weekend. Which really isn’t such a bad thing, as I’ve got to relive the evening with hilarious tunes such as “We’ve Got to Clean Out the Freezer.” Who knew a bunch of nuns could be the source of so much entertainment.

Nunsense plays at The Ziegfeld Theater (3934 S. Washington Blvd, Ogden, UT) Mondays, Fridays, and Saturdays through October 1st at 7:30 PM with a 2 PM Saturday matinee on September 24th and October 1st. Tickets are $17–20. For more information, visit http://www.TheZiegfeldTheater.com.

OGDEN — Beauty and the Beast is quite popular right now, with a live action movie having just been released into the theaters. In addition to the original Disney animated film, in 1994 Disney adapted the show for the Broadway stage, adding more songs and changing the story slightly. It is this production, with a script by Linda Woolverton, music by Alan Menken and lyrics by Howard Ashman and Tim Rice that is now playing at the Ziegfeld Theatre in Ogden, directed by Morgan Parry. This production was well designed, and was a nice evening of theatre that the whole family can enjoy. I saw several young audience members dressed up and holding dolls, very excited to see some of their favorite characters on stage. That is one reason I love to see theatre companies make choices like this to be added to their season.

Show closes May 20, 2017.

The stage at the Ziegfeld is small, and this was the smallest venue I have seen try and produce Beauty and the Beast. Set designer Caleb Parry developed a set that captured the magic of the show while also understanding and utilizing the space in the best way possible. There were some issues with sound, which was noticeable in the song “Be Our Guest,” when Aaron Gordon in the role of Lumiere, had a microphone that stopped working halfway through the song. Gordon, was one of the best players of the evening, and it was quite sad that I could not hear his song well. To his credit, Gordon worked well with the micriphone issue, adding volume and inflection to his voice in order to project as much as possible while still remaining in character.

Belle, played by Aria Critchley, was truly enchanting, and I was surprised to find out that she is only 16 years old. Critchley has a fantastic tone quality to her voice, whether speaking or singing, and she balanced well the portrayal of Belle as a strong yet compassionate woman. Daniel Pack, as Gaston, had great chemistry with Critchley, and the two of them were entertaining to watch in the song “Me,” where Gaston is focused upon all of his own grand qualities and Belle is focused on getting out of the situation. And Pack’s leather pants were a distinct asset for the show.

Several of the supporting actors were also delightful to watch, including Samuel Holdaway as Lefou and Jennifer Chadwick as Madame de la Grande Bouche. I was impressed by the physical comedy that Holdaway was able to incorporate into his character, and then even more impressed by the physical prowess he showed during the dance numbers, showing an unexpected amount of skill and flexibility. Chadwick has an absolutely exquisite voice, and was able to play an over-the-top character with such grace that I really hope to see her in more roles on the Utah stage soon. Also, Ashley Mordwinow played a lovely Mrs. Potts, and the classic number “Beauty and the Beast” was a shining moment of the play. As the Beast, Bryant Clair Larsen played well the initial anger transforming into kindness, and I was taken by his ability to make the transition a believable event.

Choreography was a very strong element with this production, especially in “Gaston.” Choreographer Kacee Neff was able to work with the cast to develop that song into one of the best dance numbers I have seen at the Ziegfeld. However, there were a few numbers that did not translate as well to the stage, including “Be Our Guest,” which was the one number that felt too large for the space. Additionally, some of the chorus members, while having great energy, had mannerisms that were a little too overdramatic, and when they were on stage they would often draw attention away from the main players. While energy and humor are important in a production like this, becoming so over the top that it leads to distraction is unfortunate for the other cast members.

Small technical and performance issues aside, Beauty and the Beast at the Ziegfeld was a fun evening of great music and enjoyable storytelling. The strong vocals and dancing in this production really make the show shine. This “tale as old as time” is a safe bet for audiences of any age who are searching for a magical evening of live theatre.

OGDEN — The Addams Family, a 2010 Broadway musical based on the eponymous characters known in comic strips, TV shows, and movies, was written by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa.  The Ziegfeld Theater’s production, directed by Eb Madson, is a fun evening of typical October entertainment that has become a […]

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