PERFORMANCES-THEATRE-MAY 2015

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PYGMALION THEATRE COMPANY, Mockingbird, by Julie Jensen, directed by Tracy Callahan, born with Asperger’s Syndrome, 11 year old Caitlin’s world is black and white, fortunately, her brother taught her which behavior to imitate so people wouldn’t think of her as weird, when she loses him to tragedy, Caitlin must learn to navigate the colors and cacophony of emotion to bring order to her chaotic world, based on a book by Kathryn Erskine, Mockingbird sees life through the eyes of autism, through May 2, 7:30 p.m., also a 2 p.m. matinee on May 2, Leona Wagner Black Box, Rose Wagner Performing Arts Center, $20, 801-355-2787, www.arttix.org.

SALT LAKE ACTING COMPANY, world premiere of Mr. Perfect, by William Missouri Downs, directed by John Caywood, the play tells the story of a quirky flight attendant and romance novel junkie who thinks she’s met Mr. Perfect, when it doesn’t work out, she sets out to connect the random events that make up life, hoping to find the meaning of it all, through May 3, 1 p.m., 2 p.m., 6 p.m., and 7:30 p.m. performances, Upstairs Theatre, 168 W. 500 North, $24-$42 general, 801-363-7522, or log on to www.saltlakeactingcompany.org. 

PLEASANT GROVE PLAYERS, The Boys Next Door, by Tom Griffin, the play shares the story of four mentally handicapped men who live in a communal residence in New England, where they are under the supervision of a very earnest social worker named Jack Norman, who is increasingly “burned out” by his work, through May 4, 7:30 p.m., also a 3 p.m. matinee on May 2 (Friday, Saturday and Monday performances), Keith Christeson Theater (lower level of the Pleasant Grove Library), 30 E. Center, Pleasant Grove, $10 general, $9 seniors and students, matinee is $1 less,  www.pgplayers.com. 

HERITAGE THEATRE, Lend Me a Tenor, by Ken Ludwig, in 1934, Saunders, the general manager of the Cleveland Grand Opera Company, is primed to welcome world famous Tito Merelli, the greatest tenor of his generation, to appear for one night only as Otello, the star arrives late and through a series of mishaps is given a double dose of tranquilizers and passes out, but everybody thinks he’s dead, so Saunders’ assistant, Max, gets into costume to pretend to be Tito, in the meantime Merelli comes to and gets into his other costume, now there are two Otellos running around, through May 9, 7:30 p.m., $10 general, $9 seniors/children under 12, S. Highway 89, Peery, 435-723-8392, www.heritagetheatreutah.com.

SCERA CENTER, Guys and Dolls, book by Jo Swerling and Abe Burrows, music and lyrics by Frank Loesser, through May 9, 7:30 p.m., $12 general, $10 seniors (65+ years) and children (ages 3-11 years), 745 S. State, Orem, 801-225-2787, www.scera.org.

NEW WORLD SHAKESPEARE COMPANY, Julius Caesar, by William Shakespeare, through May 10, 7 p.m., Black Box Theater, Sorenson Unity Center, 1383 S. 900 West, $15, preview (April 30) suggested donation of $10, benefit (May 7) suggested donation of $15, 801-719-7998, www.newworldshakespeare.com. 

THE ZIEGFELD THEATRE, Les Misérables, lyrics by Alain Boublil and Jean-Marc Natel, music by Claude-Michel Schönberg, English lyrics by Herbert Kretzmer, Jean Valjean is released from unjust imprisonment after 19 years, but finds nothing in store for him but mistrust and mistreatment, through May 16, 7:30 p.m., also 2 p.m. matinees on Saturdays, $19 general online ($20 at the door), $17 seniors/students/children (12 and under) online ($18 at the door), 3924 S. Washington Blvd., Ogden, 855-949-2787, www.theziegfeldtheater.com.

CENTERPOINT LEGACY THEATRE, Dirty Rotten Scoundrels, book by Jeffrey Lane, music and lyrics by David Yaybek, directed by Jim Christian, lying, cheating, totally dishonest, dirty, rotten, and completely hilarious, two swindlers make a bet, but end up getting a surprise of their own, this conman comedy will have you rolling in the aisles, through May 16, 7:30 p.m., Barlow Main Stage, 525 N. 400 West, Centerville, $17.25-$23.25 general, 801-298-1302, www.centerpointtheatre.org.

WASATCH THEATRE, The Little Dog Laughed, by Douglas Carter Beane, a laugh-out-loud lampoon of Hollywood humbuggery and sliding sexuality, through May 16, 8 p.m., also 2 p.m. matinees on May 9 and 16, Rose Wagner Performing Arts Center, $15, www.wasatchtheatre.org.

HALE CENTRE THEATRE-WEST VALLEY CITY, Over the River and Through the Woods, by Joe DiPietro, in New Jersey two very loud sets of grandparents simply adore their 29-year-old grandson, when he tells them he might take a job in Seattle, they think a girl might make him stay, through May 23, 12:30 p.m., 4 p.m. and 7:30 p.m. performances, $27-$30 general, $16 children (5-11 years, no children under 5 years permitted), 801-984-9000, www.halecentretheatre.org.

COVEY CENTER FOR THE ARTS, Nunsense, book, lyrics and music by Dan Goggin, five of the 19 surviving Little Sisters of Hoboken discover that their cook, Sister Julia, Child of God, accidentally killed the other 52 residents of the convent with her tainted vichyssoise while they were off playing bingo with a group of Maryknolls, laughter ensues when they try to raise money to bury the dead nuns, through May 24, 7:30 p.m., Brinton Black Box, $14 reserved, $12 seniors/students/military, 801-852-7007, www.provo.org/community/covey-center-for-the-arts.

TERRACE PLAZA PLAYHOUSE, Annie Get Your Gun, book by Dorothy Fields, music and lyrics by Irving Berlin, Annie Oakley is the best shot around, when she’s discovered by Buffalo Bill he persuades her to join his Wild West Show, where she falls head over heels for dashing shooting ace Frank Butler, who headlines the show, through May 30, 7:30 p.m., 99 E. 4700 South, Ogden, $12-$14 general, $11-$13 seniors/students, $9-$11 children (12 and under), 801-393-0070, http://terraceplayhouse.com.

DESERT STAR PLAYHOUSE, Into The Hoods: A Fractured Fairy Tale, through June 6, 2:30 p.m., 6 p.m., 7 p.m., 8:30 p.m., and 9:30 p.m. performances, 4861 S. State Street, Murray, $18.95 adults, $10.95 children (11 years and under), www.desertstar.biz.

PIONEER THEATRE COMPANY, The Music Man, book, music and lyrics by Meredith Willson, story by Meredith Willson and Franklin Lacey, fast-talking Harold Hill sweeps into sleepy Iowa town, and soon there’s trouble, right here in River City, May 1-16, 7:30 p.m. (Monday-Thursday evenings), 8 p.m. (Friday and Saturday evenings), also 2 p.m. matinees (on Saturdays), $38-$59 (tickets will be $5 higher when purchased on day of performance), 801-581-6961, www.pioneertheatre.org. 

CENTERPOINT LEGACY THEATRE, The Emperor’s New Clothes (Or Lack Thereof), Academy Production, a vain Emperor who cares about nothing except wearing and displaying clothes, hires two swindlers who promise him the finest, best suit of clothes…what he gets instead is a silly and embarrassing lesson May 1-16, 2 p.m., 5 p.m., and 7:30 p.m. performances, Leishman Performance Hall, 525 N. 400 West, Centerville, $7 general, 801-298-1302, www.centerpointtheatre.org.

UTAH CHILDREN’S THEATRE, Winnie the Pooh, come visit the Hundred Acre Wood and laugh alongside Winnie the Pooh and his friends Tigger, Piglet, Eeyore, Roo, Kanga, Owl, Rabbit and Christopher Robin as they have the silliest of adventures, based on the beloved book by A.A. Milne, May 1-2, 8-9, 15-16, 22-23, 29-30, 1 p.m., 4:30 p.m. and 7:30 p.m. performances, 3605 S. State St., $14 general, 801-532-6000, www.uctheatre.org.

THE OFF BROADWAY THEATRE, The Revengers, by Rob MacArthur, this musical comedy parody tells the story of a group of American superheroes who fight mythological gods, and hopefully come out on top…gods bless America, May 1-June 6, 7:30 p.m., 272 S. Main, $10-$16, 801-355-4628, www.theobt.org.

THE GRAND THEATRE, Always…Patsy Cline, based on a true story originally written and directed by Ted Swindley, May 7-23, 7:30 p.m., with 2 p.m. matinees on May 9, 16, 23, Black Box, Salt Lake Community College, 1575 S. State St., $14-$20 general, 801-957-3322, www.the-grand.org.

HALE CENTRE THEATRE-OREM, Big Fish, music and lyrics by Andrew Lippa, book by John August, based on the novel by Daniel Wallace, and the Columbia Motion Picture written by John August, Edward Bloom is a traveling salesman whose impossible stories of fantastical adventures aggravate his son, Will, as Edward’s fate is revealed, Will embarks on his own journey to uncover the man behind the myth, and the truth behind his father’s tales, May 7-June 20, 3 p.m. and 7:30 p.m. performances, $16-$22 general, $12-$16 children, 801-226-8600, www.haletheater.org.

UTAH REPERTORY THEATER COMPANY, Rabbit Hole, JayC Stoddard, director, Johnny Hebda, producer, Becca and Howie Corbett have everything a family could want, that is, until a life-shattering accident turns their world upside down and leaves the couple drifting perilously apart, the play charts their bittersweet search for comfort in the darkest of places and for a path that will lead them back into the light, May 8-24, 7:30 p.m., with 3 p.m. matinees on May 10 and 17, Midvale Main Street Theatre, Midvale, $12-$15, www.utahrep.org.

THE ECHO THEATRE, Lucky Stiff, music by Stephen Flaherty, book and lyrics by Lynn Ahens, Harry, a down and out shoe salesman, finds one day he has inherited a large sum of money upon the death of a previously unknown uncle, Uncle Anthony’s only condition is that Harry must take his corpse on the trip of a lifetime to Monte Carlo, fulfilling his every desire or the fortune will be donated to charity, and they aren’t the only ones dying to get their paws on the money, join Harry as he navigates Monte Carlo, crossing paths with a boisterous Italian, a representative of the charity, and some shady characters from Uncle Anthony’s past, May 8-30, 7:30 p.m., with a 2:30 p.m. matinee on May 23, 15 N. 100 East, Provo, $10 general (in advance), $12 (day of), $9 students, $8 seniors, $8 general (matinee performance), 801-375-2181, www.theechotheatre.com. Note: there will be a preview performance on May 7, 7:30 p.m., $6. 

REPERTORY DANCE THEATRE, “Ring Around the Rose,” RDT’s Ring Around the Rose is a “wiggle-friendly” series of performances that introduces children to the arts: May 9, Hatch Magic and Music, enjoy an enchanting performance of magic accompanied by piano and violin, all shows begin at 11:00 a.m., at the Rose Wagner Performing Arts Center, $5 (children 2 and under free), 801-355-2787, www.arttix.org, season tickets/flex package tickets are $4, and can be purchased directly from RDT, www.rdtutah.org. 

EGYPTIAN THEATRE, Alive in Wonderland Jr., an adaptation of the classic Disney film, an Egyptian YouTheatre presentation starring an all-local, all-youth cast and crew, May 15-16, 7 p.m., also a 2 p.m. matinee on May 16, 328 Main, Park City, $14 adults, $9 children (17 and under). 435-649-9371, www.egyptiantheatrecompany.org.

BRIGHAM YOUNG UNIVERSITY, Princess Academy (world premiere), family appropriate play is based on the book by Shannon Hale, adapted for the stage by Lisa Hall Hagen, directed by Megan Sanborn Jones, taken from her home to attend royal finishing school, Miri faces a harsh schoolmistress, fierce storms, and bandits, but soon discovers the power of friendship and a loving heart, May 29-30, June 4-6, 10-13, 7 p.m., with 2 p.m. matinees on May 30, June 4, 6, 12-13, Pardoe Theatre, Harris Fine Arts Center, $12 general, $3-$4 off with BYU or student ID, $2 off for seniors/BYU alumni, 801-422-4322, www.arts.byu.edu.

U. LYRIC OPERA ENSEMBLE IN ENCHANTING ‘CENDRILLON’

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UNIVERSITY OF UTAH LYRIC OPERA ENSEMBLE, Cendrillon, Kingsbury Hall, April 25

Jules Massenet’s Cendrillon was immensely popular when it premiered in 1899, but in the years since fell into neglect, with only occasional revivals.

The University of Utah Lyric Opera Ensemble, never one to shy away from presenting unusual repertoire, brought Massenet’s captivating work to Kingsbury Hall over the weekend in what, surprisingly, was the opera’s Utah premiere.

Jennifer Erickson as Cinderella (Photo Credit: Emily Nelson)

The talented cast at Saturday’s performance, under the inspired direction of guest stage director Michael Scarola, in his sixth appearance at the U., gave a wonderfully powerful and moving account of the work that captured the sparkle and magic of the music and the story.

The opera demands a vocally skillful group of leads and Saturday’s performance didn’t disappoint. Leading off was Jennifer Erickson in the title role. She has the vocal and acting chops to bring her fairytale character to life and imbue her with feeling, personality and depth. She sang with nuanced and finely crafted expressions and lyricism that made her character real and attractive.

David Sauer also brought some well defined depth and personality to his portrayal of the Prince. His voice has a wonderfully rounded and richly modulated tone and finely expressed lyricism. He, too, was credible in his characterization. Sauer and Erickson were vocally well matched in their duets and there was wonderful chemistry between them.

Emily Nelson was perfectly cast as the Fairy Godmother. She was in total control of her voice as she sang the role’s demanding coloratura passages while presiding over and controlling the proceedings.

As Cinderella’s stepsisters, Michelle Dean (Noémie) and Stania Shaw (Dorothée) were delightful. Their characterizations were spot on as they stumbled along trying to be graceful and charming.

Makenzie Matthews as their mother, Madame de la Haltière, gave a fabulous performance. She captured the depth of her character’s domineering attitude towards her husband and her doting devotion to her daughters.

Daniel Tuutau as Pandolfe, Cinderella’s father, was remarkable. He, too, brought depth and finely molded nuances to his portrayal as the cowering husband and devoted father.

Rounding out the cast of singers were Nathan Curtis as the King; Hunter Olsen as the Dean of the Family; Anders Larson as the Master of Ceremonies; and Garrett Tyler Medlock as the First Minister.

Also wonderful were dancers Alexa Mendenhall and Jon Wyatt Pendleton from the U.’s department of ballet. They were marvelous in the pas de deux from Sergei Prokofiev’s Cinderella, which was interwoven into the ballroom scene at the royal palace. The inclusion of the dance number worked wonderfully and gave a neat twist to the story.

The Utah Philharmonia, under the baton of Robert Baldwin, played with its usual depth and clarity. Baldwin’s tempos were well chosen and complemented Scarola’s finely tuned pacing.