“Joseph and the Wonderful Technicolor Dreamcoat” runs by way of Aug. 6 as a part of Utah Pageant Opera and Musical Theatre’s thirtieth season. Waldron Inventive
Now in its thirtieth season, Utah Pageant Opera and Musical Theatre has gathered almost 300 musicians, performers and crew members collectively to deliver 5 main productions to life. Right here’s a breakdown of the season, which runs by way of Aug. 6.
‘Joseph and the Wonderful Technicolor Dreamcoat’
Since Andrew Lloyd Webber and Tim Rice first penned the music and lyrics of “Joseph and the Wonderful Technicolor Dreamcoat” within the early Seventies, it has been carried out actually tens of 1000's of instances, from Broadway and London’s West Finish to highschool auditoriums all over the place. And why not? It's a fantastic car to point out off costumes, and dancing, and musical types, and tells an easy-to-follow and recognizable story.
The Utah Pageant Opera and Musical Theatre manufacturing of “Joseph” takes that chance to point out off all these items, and places them on steroids.
Costumes? They had been all outstanding and attention-grabbing and viewers members will probably be unable to maintain up with the quite a few costume modifications achieved by the ensemble of singers and dancers — I misplaced rely at seven — a feat that can't go unmentioned. And it’s not simply the coat of many colours that's eye-catching. The element of effort is outstanding.
The orchestra beneath the hand of James Bankhead is equally exact and offers the viewers memorable and toe-tapping accompaniment. The virtually-constant shifting of music types — from ’60s go-go, to calypso, to nation, to slick jazz and French ballad — gave the well-rehearsed dancers and solid the proper excuse to share their expertise.
John Tibbetts, for instance, was good as brother Reuben wailing in western twang about “One Extra Angel in Heaven” whereas describing the lack of Joseph. All brothers, highlighted by Nathaniel Each as Simeon, had been viewers favorites throughout their parody of French lamentation throughout “These Canaan Days.”
Timothy Stewart, as Joseph, instructions the stage. Stewart’s projection, pitch and diction are pin-point good. Likewise, Michael Colman as Elvis, er, ah, as Pharaoh, exceeds expectations and appears to take enjoyment of pushing music and staging to their much-appreciated pinnacle. As he was alleged to do, Elvis introduced the home down as he described how his goals have him, effectively, all shook up.
It’s unlikely that many viewers members in Logan’s Ellen Eccles Theatre had not beforehand skilled some model of the oft-staged “Joseph.” However it's also unlikely that they'd ever seen a extra energetic and top-drawer manufacturing.
‘Man of La Mancha’
This isn’t the primary time the Utah Pageant Opera and Musical Theatre firm has staged “Man of La Mancha,” however this 12 months’s manufacturing appears to raise the viewers to a lighter, larger airplane. It feels and presents itself as extra easy — although it clearly isn't any such factor — and general is a extra nice and heartwarming expertise than previous productions, good although they might have been.
A part of the explanation for this general raise comes from better-than-solid supporting actors and singers, wealthy and full ensemble numbers, and lead actors that had been hand-in-glove with their characters.
“La Mancha” opens to a grand and rustic set, the dungeon the place Cervantes/Don Quixote/Alonso Quijana is introduced for incarceration, and there, the acquainted story inside a narrative unfolds. The pageant’s founder and common director Michael Ballam has scores of “La Mancha” leads behind him, however his tender, nearly delicate method to Quixote — once more, easy involves thoughts — permits the message and music to encompass and elevate the viewers.
Audrey Babcock, taking part in the essential Aldonza, battled her first solo a bit however quickly discovered her stride and helped carry and raise the manufacturing. Her presence dominated the stage, because it was alleged to.
The third essential lead, Stefan Espinosa as Sancho the manservant, continues the sturdy help and Espinosa grew to become an viewers favourite, as did Logan Wagner, as Padre. Wagner, although solely a secondary character within the story line, sings with energy and fills the theater with good tones and emotion.
The manufacturing is well-directed — transitions from dungeon to inn had been clean and well-staged. Virtually imperceptible is the near-constant presence of smoke excessive above the stage, including to the dream-like feeling and raise all through the manufacturing.
Below the baton of conductor Karen Keltner, the ultimate music of the manufacturing was a memorable triumph.
‘The Magic Flute’
Little doubt Wolfgang Mozart envisioned — and even perhaps staged — “The Magic Flute” as an epic, larger-than-life expertise. The pageant manufacturing of “Flute” is simply that, no extra apparent than the opening scene.
Conductor Nicolas Guisti was nearly a present unto himself opening night time as he vigorously led the orchestra by way of the prelude. The stage is nearly mind-blowing, dominated by a much-larger-than-life serpent enveloping the stage back and forth.
The opening trio — the Three Women, performed by Amber Romero, Tzytle Steinman and Sarah-Nicole Carter — was tight and powerful and offered an incredible begin. And Lee Gregory, as Papageno, is delightfully good in each voice and character because the bird-like hen catcher.
Additionally flawless in voice and straightforward to get pleasure from is Kara Goodrich as Pamina. Her voice glides and lifts the listener, fills the theater and patrons look ahead to having her on stage. Her dynamics throughout moments of lamentation had been excellent. Projection comes simply and effortlessly to Goodrich, and her solos are memorable.
The stage is usually crammed to overflowing in “Flute” — the scene introducing the mysterious Sarastro is an instance. The costumes, lighting, smoke and large puppets — sure, puppets — fill the stage, as does the voice of Goodrich/Pamina, and that of the sturdy ensemble. The costume designer definitely deserves greater than a nod of discover.
There have been some comedic moments labored into the manufacturing by way of aspect characters, such because the guards, that felt a bid odd and had combined outcomes. It was additionally attention-grabbing to have the recurring spirits portrayed by youthful boys.
However “The Magic Flute” can also be stuffed with knowledge to associate with its epic nature, and the opening night time viewers on the Ellen Eccles Theatre went away somewhat wiser.
‘She Loves Me’
With its simply recognizable story — assume: “You’ve Acquired Mail” or “The Store Across the Nook” — together with a small and proficient solid sharing top-drawer musical numbers, “She Loves Me” simply may find yourself being the viewers favourite of this summer season’s pageant season.
Staged within the refurbished Utah Theatre — nonetheless a shock to see for a lot of locals who bear in mind its earlier appear and feel — “She Loves Me” showcases the skills of Vanessa Ballam, portraying Amilia Balash, and Stefan Espinosa as Georg Nowack.
The opening quantity highlighting all the workers of Maraczek’s Parfumerie was tight and stable and gave a promise of extra good to return. After some preliminary introductions, each Amilia and Georg find yourself as staff on the store in Budapest, unbeknownst to one another as they share love letters.
It have to be stated that Espinosa is the king of good facial expressions. His nonverbal language and facial twists shout volumes. It should even be stated that the entire solos — together with Espinosa’s — on this good matinee musical are stable. A number of numbers are battling duets — that's, two refrains being sung on the similar time over prime of each other. Even these are a lot enjoyable, and Ballam’s excessive soprano is a delight to listen to above the others.
Costuming is nice and permits the characters to be highlighted in entrance of a easy set. A restaurant scene on the finish of Act I lets among the solid spill off the stage and to the entrance of the viewers. This scene additionally introduces patrons to Timothy Stewart, because the waiter, who finally ends up being an absolute hidden gem and one other spotlight of the present.
Lindsey Kelstrom can also be a vibrant gentle in her function as store lady Ilona Ritter, particularly within the second act along with her rehearsal of her journey to the library.
Act II slows the tempo down a bit, nevertheless it’s not terrible, because it permits Amilia and Georg to unfold the dilemma they face. The reunion scene with Mr. Maraczek (performed by venerable favourite W. Lee Each day) on Christmas Eve, did lag a bit, although, and will have been pushed a beat sooner.
However proper on cue, lips are kissed and shock endings are not a shock, and, certain sufficient, she loves him.
‘Carmen’
The viewers viewing the pageant manufacturing of “Carmen” is quickly reminded that this opera in 4 acts by French composer Georges Bizet is all concerning the music. Bizet’s music in “Carmen” is acclaimed for its brilliance of melody, concord, environment and orchestration.
The primary onstage assembly of Don Jose (Isaac Hurtado) and soon-to-be fiancé Michaela (Kara Goodrich) is a primary instance. The music is emotional and offered as such by the pair, their voices being complimentary and never competing. All through “Carmen,” Goodrich is really easy to take heed to and presents emotion-filled soprano.
Because the seductress and unpredictable Carmen, Audrey Babcock is excellent. Her demeanor, actions, perspective and voice are hand-in-glove with the ever-present music, a lot of it very recognizable, as Bizet’s arias have been tailored and commercialized over the a long time. She units her — albeit non permanent — sights on Don Jose and thereby turns into the villianess. Hurtado is impassioned and his tenor is robust and is at all times given full effort. Though his character Don Jose has feelings that run cold and warm, his solos had been emotional and appreciated.
The ensemble is a powerful help in “Carmen,” regardless that this can be a manufacturing that principally facilities round a essential core of characters. The ensemble numbers are an ideal echo, so to talk, of a lot of the music and exercise that surrounds them. Karen Keltner, conductor, retains the momentum of the composition on good tempo.
“She Loves Me” runs by way of Aug. 3; “Carmen” and “The Magic Flute” run by way of Aug. 5; and “Joseph and the Wonderful Technicolor Dreamcoat” and “Man of La Mancha” run by way of Aug. 6. Go to utahfestival.org for extra data.
Jay Wamsley lives in Cache Valley and has been viewing and reviewing theater and musical productions there for greater than 25 years.