Part II
When excellence is done in a show, so often the whole company is elevated by great work. We also want to recognize individual efforts at all levels that we noticed and appreciated as we reflected upon the year.
Excellent Directing and Choreography
Jennifer Hill Barlow’s direction and choreography for How to Succeed in Business Without Really Trying was phenomenal. Thanks to the energetic dancing and her careful handling of the dated script, Barlow made trudging to work as an office drone seem like a party. Her vision for “Brotherhood of Man,” “Paris Original,” “A Secretary Is Not a Toy,” and other songs from the show will be the gold standard that I compare other productions to for the rest of my life. — Russell Warne, President Emeritus UTBA
Utah Opera’s Thais was mesmerizing. Director Andrea Cigni’s staging of group scenes writhed and pulsated with hypnotic energy. Heidi Spesard-Noble’s heavenly choreography for “Méditation” elicited gasps and a thunderous reaction from the audience. It’s not often you scream at the opera—but after that number, the shouts erupted from me as if by their own power. — Isaacson
Hale Center Theatre Orem’s closing show of “A Christmas Carol” was gangbusters good for this exact reason. David Morgan did great direction. The best directors tell the story in a way that serves the story. Audiences love it because they understand that the story — not something else — is at the center of the experience. It moved well, it was surprising and gripping. I loved it. — Savage
My choice for Excellence in Directing and Choreography would go to the Utah Festival of Opera and Musical Theatre’s production of Gianni Schicchi and Buoso’s Ghost. The pairing of these two operas were excellent and made for a complete evening of suspense and comedy. Directed by Suzan Hanson, these operas were lively and engaging which contrasts the stereotypical thought of dry operas that can easily put someone to sleep. With the choice of performing in English, the excellent stage direction and the well put together cast, starring Michael Ballam in the role of Gianni Schicchi, Hanson created a masterful show that was beautiful, easy to follow along, and very memorable. —Danica Francom, UTBA Board
Excellent Acting
I’d love to shout out Jessica Zaugg’s performance as Wednesday Addams at HCT. Her comedic timing was excellent and her voice was simply marvelous. The costume design and choreography of that production was also a delight. So often the ancestors are used as background filler, but this show integrated them into the action in such a seamless way that helped push the story forward while also giving each of the ancestors a unique personality, movement style, motivation. Excellent work on the part of the ensemble. — Newman
I am going to highlight three. Kevin Earley easily gave the best performance of the year in Pioneer’s “Natasha, Pierre & the Great Comet of 1812”. Every movement, expression and note were expert storytelling. An unforgettable performance that fully inhabited the character. I’m still laughing from Rodney Lizcano John Harrells’ performances in Utah Shakespeare Festival’s “The Taming of the Shrew”. Harrell’s “instrument” scene (if you saw it, you know what I’m talking about) may be imprinted on my mind forever. As I wrote in my review, the two were “invincible comedic forces” as suitors Hortensio and Gremio. Mary Beth Nelson stole every scene as Cherubino Utah Opera’s “Marriage of Figaro”. Their character was a delightful dandy, and their performance magnetic. On an evening when both leads had to lip sync, Nelson’s supporting role was easily the highlight of the opera. — Isaacson
Excellent New Works
One of the best original plays produced this year in Utah was Welcome to Dangerville at Pickleville Playhouse in Garden City. This outrageously comical show was written by Derek Davis and Jordan Todd Brown for Utah audiences and included many local jokes and jabs. Not only was the show funny and entertaining especially with actors Nathan Kremin and Brown, but the show featured 11 original upbeat and enjoyable musical numbers composed by Davis and Logan Kyle with music and orchestrations by Kyle Wesley and Gavin McMahan. The cast definitely had a blast performing this show as they too couldn’t help but laugh at ad libbed lines. Welcome to Dangerville is an excellent example of the hilarious and hugely popular shows at Pickleville Playhouse. — Francom
Two new works stand out this year. The first is God Kinda Looks Like Tupac, presented at Good Company Theatre in Ogden. Not only was the cast fantastic and production design well thought out, but the subject matter was timely and more unique than anything else I have seen on the Utah stage this year. The second was the adaptation of Dracula by Jennifer Westfall presented by Ogden Musical Theatre this fall. This haunting production was everything that a Halloween production should be, from the set design to the acting to the writing. I hope this becomes an annual tradition. —Swensen
Excellent Technical Design
The Addams Family at HCT was one of my favorites this year. Every single element technical element (and the associated designers and tech crew) enhanced the story in a way that thrilled me. Scenic design was fun and added to the story telling. The lights were impeccable, and the costumes were fantastic. It’s a show that has to have good tech to be strong and supported, but it was done so beautifully that it elevated beyond what I expected. Nice job all around on that one. I also really loved the tech for everything done in the Anes theatre at Utah Shakespeare Festival. Both Silent Sky and Mountain Top made excellent use of the blackbox space with projections, lighting, and overall ambiance. It was intimate and glorious. Can we get funders to provide another dozen theatres just like this one throughout the state? There’s something deeply lost in the intimacy of a 300 person thrust theatre that tells a great story. We miss out immensely when we don’t have these optimal mid-size spaces with all the support behind them. —Savage
Very few times do I attend a show, and turn around and insist on seeing a show again. Not only did I do that with West Valley’s Jekyll and Hyde, I also insisted that my 18-year-old daughter who is planning on studying technical design in theatre find her way to this masterpiece. The way that the production team built the world of Dr. Jekyll and Mr. Hyde was unlike anything I have ever seen and honestly I wish I could have seen it about five more times. — Swensen
Other Excellence in Utah Theatre
I was thrilled by everything I saw at the SCERA this year, and, frankly, you’re not going to find better value. I saw delightful indoor productions of Frog and Toad, Big Fish and Bright Star along with the idyllic summer evening show outdoors with Little Mermaid. We don’t have a legit, national children’s theatre in Utah like Seattle, Charlotte, Orlando, Nashville, Dallas and others. Please, someone hire me to fix that problem. Even without that, SCERA does some really great work that is truly the kind of work that families with kids of all ages can both enjoy and afford. I’m already looking forward to the next summer show. It’s cheaper than taking your kids to see a movie, and it’s always been better than the next Minions sequel. —Savage
Overall for theatre in Utah, scheduling, writing, and editing for UTBA has exposed me to the sheer variety and talent across the state. I’m glad that theatres open their doors to us UTBA theatre bloggers/critics/writers to offer our place as theatre critics to celebrate excellence, comment on imperfections, and critique everything in between. We are theatre lovers at heart wanting theatre productions to succeed. There is so much to love and so many gems. Honestly, I am so grateful for the theatrical variety offered at a range of prices. I am encouraged I can provide my children with opportunities to see excellent live theatre for movie ticket prices rather than theme park ticket prices. —Dudley
Congrats to everyone who helped save the West Valley Performing Arts Center. What an incredible grassroots effort! The center’s ownership has now transferred from West Valley City to a non-profit, so this thriving theater can continue to enrich our community. —Isaacson
I echo the amazing effort to save the West Valley Performing Arts Center. As I have spent part of my year working in the National and International Theatre Criticism scene, I am so proud to be part of our community here in Utah. Knowing that we can all work together to save something so important, and go from closing down to sold out within a matter of months is beautiful. I have seen so many notifications of theatre closures throughout the country, and my heart soars that we made that not the story here. —Swensen
