BLUFFDALE — Bluffdale Arts’ recent production of Freaky Friday at Hidden Valley Middle School was exactly what you’d expect from a community theater effort, with all the warmth, heart, and hiccups that come with that label. Directed by Kerry Severn, with Chelsea Ottosson co-directing, the production offered an evening full of laughter, earnest performances, and family-friendly entertainment—even if it didn’t quite hit every mark.
To start, the set by Kelly Checketts was a pleasant surprise. Well-constructed and thoughtfully designed, the staging provided a versatile backdrop that kept the show visually engaging without overshadowing the performers. Eric Peterson’s lighting design, too, was solid. Cues were clean and helped guide the mood from scene to scene. This attention to visual elements added polish that set a strong first impression.
Unfortunately, the same can’t be said for the sound. There were consistent microphone issues throughout the show—either missed cues or moments when it seemed like some cast members simply didn’t have working mics at all. As an audience member, it’s frustrating to strain to hear a musical number, only to catch every third word. This was especially noticeable during group songs. The ensemble, primarily made up of youth performers, just didn’t have the vocal power or technical support to fill the space. What should have been big, sweeping musical moments instead felt underwhelming. These are often the moments an audience lives for—the ones that can bring goosebumps or tears—and there were multiple almost-moments held back by lack of volume. I found myself wanting to root for them louder than I could actually hear them.
That said, the leads made up for a lot. Ellie (played with charm and nuance by Grace Woodhouse) and her mother (played by Mindy Eckroth—a true standout in both voice and presence) delivered the kind of performances that make you sit up a little straighter in your seat. Vocally, both were strong and consistent, and their character work only grew better after the iconic “switch.” You could tell they were having fun in each other’s shoes, and that joy spilled over into the audience. Eckroth’s Katherine Blake, in particular, had a magnetism that made her impossible not to watch. Her comic timing was sharp, and her portrayal of a teenager in an adult’s body was delightful. She commanded the stage.
Another bright spot was Nolan Heinmiller’s performance as Fletcher, Ellie’s younger brother. He brought a believable quirkiness to the role, and his energy was steady throughout. For a youth-heavy production, having a young actor be so consistent was impressive and added another layer of heart to the show. There is just something joyous about watching a young actor shine on stage.
The rest of the cast was a mixed bag, as is often the case in community theater where the goal is participation as much as polish. It appeared to be one of those productions where every person who auditions gets a part, which—while incredibly inclusive—can result in uneven performances. Some ensemble members looked like natural performers, fully committing to choreography and stage presence. Others seemed hesitant, particularly during dance numbers. As a result, choreography was hit or miss, especially in the bigger group scenes.
Still, the audience was laughing and having a good time. And really, that counts for a lot. There was a community spirit in the room—the kind you only find at local productions where friends, neighbors, and families come out to support their own. I heard plenty of proud audience members sharing their connections to cast members as they waited for the show to begin, and there were many hugs, cheers, and excited meet-ups during intermission and after the show. Community theatre is truly special in that way.
For those who love seeing shows with their kids and want to support youth performers in a low-pressure environment, this production fits the bill. It’s an affordable night out that the whole family can enjoy. But if you’re a theater-goer looking for a more refined experience or professional-level production quality, you may want to adjust your expectations—or skip this one.
One final shoutout to Bluffdale Arts for providing printed playbills. In the age of QR codes and digital-only programs, I still find something comforting about a good old-fashioned playbill in hand. It was a nice touch that didn’t go unnoticed.
Before you go, though—especially for our plus-size readers—a quick heads-up about the venue: some seats are significantly narrower than others, and they are tight. It was, frankly, one of the most uncomfortable seating experiences I’ve had at a show. I tried to switch seats, but the staff didn’t seem particularly willing to accommodate. While there are a few wider options or transfer seats with moveable armrests scattered throughout the space, none of this is labeled online. If seat size is something you need to consider, your best bet may be to buy tickets at the door where you can see what’s available or ask about options in person. There is also a phone number listed online for inquiries regarding ADA accommodations.
All in all, Bluffdale Arts’ Freaky Friday was a sweet, if imperfect, production that reminded me what community theater is all about: heart, growth, and connection. Yes, there were bumps, and yes, some things could have been stronger, but there were also moments of true delight and talent, especially from the lead cast members. I hope the younger performers walked away proud of what they accomplished. And for the audience, it offered a fun, affordable night of live theater close to home. Sometimes, that’s enough.
These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.
