SOUTH SALT LAKE — Father of the Bride is a beloved story that has been around since 1950. I was only familiar with the 1990s film starring Steve Martin, but that’s not the basis of The Parker Theatre’s new production — no, it’s based on the 1950 film, which explains the poodle skirts and archaic language like “Buck up, old girl.”
Plot
The plot, written by Caroline Francke, revolves around a wealthy but spendthrift father navigating the intricacies of planning a wedding for his daughter. Much of the action involves the guest list and choice of venue. There’s a calculus involved in everything. Michael Hohl stars as Mr. Banks and had the heaviest lifting of the comedy, aided by his droll wit. As the daughter in question, Kay, Emma Widfeldt accurately portrayed a young woman (perhaps too young?) in love.
Direction and Performances
David Weekes directs to many successes, including frequent entrances and exits, and an intelligently invented couch area stage left that allows the audience a good view of the actors. Two backward-facing elements did prevent the audience from fully appreciating them—a son, played by Trumam Schipper, sitting at a table in scene 1, and a filing cabinet which played a key role in the production. Otherwise, Weekes’ direction created natural groupings and action that complimented the show.
Schipper felt like a natural in the role of oldest son Ben Banks. His carefree attitude and nonchalant air were compelling and endearing. Jago Parker was a game Tommy Banks, youngest son of the family, and was impressive in the role. I do wonder at the casting of him and his best friend Buzz, however, since the two actors seemed to be at least one foot and several years of age apart.
Luana Parkes stood out as maid Delilah. Parkes’ line readings and character were wonderful, and her interplay with the wedding planner (mopping every where he stepped) was a strong bit of acting. And Lorni Bruns hammed it up as eccentric designer Mr. Massoula. Bruns stuck close to Martin Short’s iconic characterization in the 1991 film (including his pronunciation of “cake”), and while his expressions and vocalizations were entertaining, he proved equally adept at moments of physical comedy and interplay between actors.
Hohl, who is also chairman of the theatre’s board, was funny and earned many laughs during the evening. He did, however, occasionally jump other actors’ lines, and seemed to get tripped up mid-sentence some times. Fortunately, these moments were temporary and well-covered. Overall, Hohl gave a strong performance; during the few moments of seriousness, I found his punctuation of this line readings commanding and persuasive.
Tech and Design
While many actors did fine work, the technical elements were the star of the show. The production’s single set by James B. Parker was a wonder. The large 50s living room branched into five visible rooms and hallways. There was a furnished library, kitchen with robin egg blue cupboards, an entry way, and framed pictures galore. Scalloped moulding and exterior windows also added nuance to the space, and a large chandelier overhung the stage. Each light on the chandelier, wall lights, and floor lamp had shades, and 50s decor abounded; yellow curtains and a couch were festooned with floral prints, and an array of LIFE magazines adorned the coffee table.
Like the magnificent set, props by Erin Oliphant went above and beyond the call of duty, with an array of tea sets, porcelain pitchers, silver serving platters and sundry other wedding presents. Props filled the stage wonderfully — except in one case where a cluster of brown paper packages on stage right crossed the path of the actors for the entirety of Act II, causing them to trip over them.
Paige Wilson’s costumes were another fabulous technical element of the show. Kay had a fetching mint-green-and-white striped dress with red floral accents and a white-and-black polka dotted headband. Mr. Banks had a lavender shirt and matching checkers sweater vest. Kay’s decent, shy fiancee Buckley (played by Brock Harris) was appropriately dressed in a ho-hum blazer, tie and slacks. Pops of joyful yellow also permeated costuming, from pajamas to dresses, which felt appropriate for the time period and comedic genre.
While many of the lead actors were very talented and the characters are well put together, the production stumbled in the minor characters of Act II where an assortment of bumbling workers greatly detracted from the show. The acting was way over the top and the characters seemed beamed in from another genre (or universe) far from the wry, life-driven commentary at the heart of the show.
Recommendation
Overall, Father of the Bride is an enjoyable show, well worth the audience’s money. The audience laughed throughout the entire production and the timeless story is relatable to people of all walks of life. Its technical elements are superb, and the production delivers the comedy and heart this show calls for.
MORE INFO: Father of the Bride is currently playing at The Parker Theatre. The production runs March 28 through May 2, 2026. Adult tickets are $32. For the most up-to-date schedule, performance details, and official ticketing, visit the Parker Theatre website: https://www.parkertheatre.org/