This provocative and entertaining rendition of Stephen Sondheim’s dark musical comedy gives a salute to both the successful and not-so-successful presidential killers. Dark Horse Company Theatre’s Assassins is not only timely with the current political climate and raging gun control debate, but it is also for the most part, right on target. Continue reading
The musical provides raw and emotion filled opportunities for ensembles to sing not so much together as at the same time. And although there were a few numbers where the actors seemed to have trouble with pitch and/or key, this cast nails those singing at the same time moments. The effect is that of a sometimes discordant, but still oh so rich stew of competing needs and conflicting emotions. Continue reading
Director, Cynthia Flemming, who is also the show’s choreographer, has assembled quite an impressive cast and crew and working together they put on one H-E-double-hockey-sticks of a show. The high level of energy, sustained throughout the three act musical parody, started the moment the first players stepped out onto the stage singing Our World and was still alive and kicking in the finale, Be Free. Continue reading
Who needs 50 Shades of Grey or Magic Mike when they have Dark Horse Company Theatre’s Chicago? This musical, currently the fourth longest-running show on Broadway, is full of songs that pack a dark-humored punch. Its also one steamy show with lots of sex appeal. Continue reading
The show opens and proceeds for the first few minutes in complete darkness. A companionable male voice begins speaking. “I hate theater,” the voice says. “Well, it’s so disappointing, isn’t it?” This voice, which belongs to a lonely, and musical-loving divorcee called Man in Chair (rendered with an affable believability by Doug Caldwell), offers up a prayer as he always does before a play, “…let it be short… keep the actors out of the aisles… I just want to be entertained. I mean, isn’t that the point?” It so happens, I say pretty much this same prayer before any show too, and I can gladly report, that The Drowsy Chaperone at Center Point Legacy Theatre answers that prayer. Continue reading
It’s that time of year again. No I’m not talking about the holidays. I’m talking about Wasatch Theatre Company’s Page-to-Stage Festival, currently in its eleventh year. If you are unfamiliar with this wonderful annual event, I’ll bring you up to speed. The name really says it all: Page-to-Stage. Every year WTC invites local playwrights to participate in various writing workshops and staged readings for the purpose of developing and honing their craft. An invitation is also extended to the public to submit their work for the chance to have it reviewed, and God willing, selected for production. Continue reading
Parable Productions performs its shows at Calvary Chapel located in Murray. Upon entering the performance space, the audience is treated to sound bytes of real answering machine messages, Amy’s Answering Machine, instead of music before the show, as well as during intermission; I found it a rather inventive and delightful alternative as the sound bytes worked well, in my opinion, to set the tone of the show and keep the audience invested during intermission. There is ample seating here, but the stage is very small. All the more reason why I am always impressed with the typical set and lighting design by Annie Fields, and by how well it makes use of the limited space; this time was no exception. Set in 1990 and spanning the course of roughly four weeks, the entirety of the show takes place in the homey, and just-a-titch kitschy, Chicago apartment of one Miss Sarah Goldman (delightfully portrayed by Marissa Poole); an unmarried, 30-year-old Jewish woman who teaches Kindergarten. Continue reading
