LEHI — The Lehi Arts Council is quickly building a reputation for turning its modest performance space into something reliably magical, and their production of She Loves Me continues that trend. The classic 1963 musical – famous for inspiring the Tom Hanks/Meg Ryan film You’ve Got Mail – follows a group of coworkers at Maraczek’s Parfumerie, each navigating their personal hopes, insecurities, and romantic misadventures. The musical has a book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick. At its center are Amalia Balash and Georg Nowack, two colleagues who can’t seem to stand each other, yet are unknowingly falling in love through anonymous, handwritten letters exchanged in response to a newspaper personal ad. As the story unfolds, their real-world tensions collide with their secret emotional intimacy, making for a romantic comedy built on irony, timing, and heart. Lehi Arts Council successfully presented a sweet throwback story in a polished, humorous way that provided a lively evening of quality musical theater that is accessible to a wide audience.
One of the things that consistently sets Lehi Arts Council apart is the technical quality they achieve as a small, local theater. Performances are always supported by stellar behind-the-scenes work, and She Loves Me is no exception. The sound design and operation – something that can go awry in even the highest level of theater production – were excellent. Every microphone worked, every balance felt intentional, and every ensemble moment rang clearly across the space. Sam Palmer’s steady sound operation contributed to a professional atmosphere you wouldn’t necessarily expect from community theater. Lehi Arts delivers a similar level of quality in production after production.
Visually, the show was equally cohesive and charming. Scenic Designer Garrett Roblyer created a parfumerie set that felt believable, was easily adapted from scene to scene, and added to the success of the show as a whole. Each scene provided the ensemble with plenty to weave through during busy musical numbers and comedic scene changes. Costume Designer Tinuvia Smith also deserves praise for a wardrobe that highlighted the period style while still feeling bright and inviting. Costume quality can sometimes detract from the professional appearance in local productions, but that was not a problem in this one!
This production also made significant use of projection design, handled by Garrett Roblyer, which added an interesting visual layer to the evening. Projections helped shape the physical space, particularly in creating the parfumerie interior, and they were used to display snowfall and other scenic transitions. Some of these choices were a positive use of technology – the parfumerie backdrop worked well and felt purposeful – but at times, the effect was less impactful. Snowfall, for example, was projected often, and it just didn’t make a big enough impact. A later scene incorporated more realistic, tactile snow that beautifully integrated the humor and romance of the moment. That brief snowfall alone was more effective than the projected version and made me wish that technical effect had been used more sparingly and more effectively throughout. Still, the projection work was thoughtful, and did have bright moments.
The delightful aesthetic of the show was amplified by Remy Egan Talanoa’s choreography, which embraced the comedic energy of the musical. She Loves Me is not a dance-heavy show in the traditional Broadway sense, but this production used movement smartly – often as a tool for humor or storytelling. The ensemble frequently found themselves navigating counters, cafe tables, and other set pieces, yet the choreography never felt cramped or chaotic. Instead, the dancers turned potential obstacles into comedic opportunities, adding personality and providing many good laughs.
Of course, even the best technical elements rely on a strong cast to bring a story to life, and this production centered around two especially standout performances. Camilla Curtis as Amalia Balash was outstanding. She fit the part beautifully, vocals were impeccable, and she truly embodied her character. Her performance never felt forced, but was authentic and engaging in every scene. Opposite her, Joshua Egbert delivered a grounded, warm performance as Georg Nowack. He portrayed Georg’s frustrations and insecurities with sincerity but also leaned into the role’s comedic beats with natural charm. Egbert and Curtis shared believable chemistry onstage, and their connection felt truthful enough that the audience rooted for them long before they realized they were rooting for each other.
The ensemble also deserves special acknowledgment. She Loves Me relies heavily on its supporting cast to establish the comedic rhythm of the show, and this group handled it with ease. Their transitions between roles, their responsiveness to the audience, and their consistency in maintaining character – even in ensemble numbers where chaos is part of the humor – made the entire production feel lively. There were even a few moments when the actors interacted directly with the audience, and these were not only well-timed, but genuinely hilarious. Those small surprises made the evening feel communal and joyful, and they showcased Director Brett Jamison’s thoughtful approach to pacing and tone.
Speaking of direction, Jamison’s leadership created a cohesive and energetic production that honored the classic style of the musical while keeping it accessible to modern audiences. Music Director Emily Duncan ensured that the vocals blended beautifully while allowing featured performers to shine, and the contributions of the entire creative team resulted in a production that felt smooth and confident.
While She Loves Me may be an older show with a more traditional musical-theater sensibility, Lehi Arts Council infused it with freshness through strong performances, clean technical execution, and a genuine affection for the material. The result is a production that balances sweetness and humor, nostalgia and energy—one that leaves you smiling long after the shop’s doors close for the night.
