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Austin McKay Burt

Austin McKay Burt has surrounded his life with theatre since he was 8 years old. He has always had a fascination with the performing arts and has performed in more than 25 different shows thus far and can't wait to experience more. Primarily an actor, Austin has an extensive background in theater elements as well; ranging from stage managment to production design. He writes local theater reviews for Salt Lake magazine.

May 12
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Pioneer Theatre Company’s Waitress - Salt Lake Magazine - Photo by BW Productions

Review: PTC’s ‘Waitress’ (with a slice of pie)

By Uncategorized

Before the first note is played or a single pie is baked, Pioneer Theatre Company’s production of Waitress sets the tone—emphatically—with a glowing “DINER” sign on the proscenium that left me genuinely questioning whether it was neon or some LED sorcery. (Spoiler: It is LED, and it changes colors like the Northern Lights.) It’s a shining example of Paul Miller’s brilliant lighting design, and it perfectly frames the nostalgia-drenched world we’re about to enter.

The set, revealed once the curtain draws back, is nothing short of a marvel. Scenic Designer Yoon Bae has created an entire working diner onstage, complete with booths, checkered floors, a kitchen window and the all-important specials board. It’s immersive, textured and totally convincing. Honestly, if someone handed me a coffee pot and an apron, I might’ve started waiting tables.

But Waitress is more than just aesthetics—it’s a story with heart, humor, and a whole lot of pie. Based on the 2007 indie film by Adrienne Shelly and featuring a soulful, folksy-pop score by Sara Bareilles, the musical tells the story of Jenna, a small-town waitress and expert pie-maker stuck in an abusive marriage and looking for a way out. Claire Saunders’ rendition of this part was exciting and you could see the talent come alive towards the end of the performance. A baking contest—and a very unexpected romance with her flirtatious gynecologist, Dr. Pomatter (Daniel Plimpton)—offer a glimpse of something better. Along the way, Jenna leans on the support of her two fellow waitresses, and line cook, Becky, played by the vocal powerhouse Candice Marie Woods. Dawn, played by the larger-than-life Lexi Rabadi. And Cal, played by the charismatic Aaron Arnell Harrington. Each with their quirks and complications.

From the opening number, it’s clear this is a triumphant finale to Pioneer’s 2024–2025 season. Seats were packed even on a weekday, which speaks volumes about both the anticipation for this production and the consistent quality of shows Artistic Director Karen Azenberg has brought to the stage. (Seriously, Dear Evan Hansen, Come From Away, and Noises Off are up next season? Get those subscription tickets yesterday.)

The vocals? Flawless. The harmonies? Chef’s kiss. It’s a true vocal showcase, and the cast doesn’t miss a note. The orchestra, under the baton of Musical Director Tom Griffin, is so tight you might mistake it for a studio recording. Every swell, every cue, every pizzicato—crisp as the crust on a fresh pie.

Bob Cline’s casting is so spot-on, it feels like the roles were written after meeting these actors. Each character is distinct and layered, and the actors squeeze every ounce of emotional juice out of their performances. Yet, I still found myself wanting to know even more about these characters—always the sign of a compelling ensemble.  And let’s not forget Lulu, the pint-sized scene-stealer played by Iris Fernelius who, with one smile, makes every hardship Jenna faces feel worth it. Three different child actors (Lulus) are rotating through the run, so yes, you do have a legitimate excuse to see this show three times.

Melinda Pfundstein’s direction shines in the quiet, intimate moments, with nuanced acting that simmers under the surface and builds beautiful tension (both romantic and otherwise). Sarah Shippobotham’s intimacy direction deserves a special mention for its balance of fun, heat, and family-friendliness—it never tips into discomfort, just delicious flirtation.

Natalie Malotke’s choreography starts subtly and grows throughout the show, culminating in full-on clogging and lifts. Some dance sequences even mirror the action like a visual echo, adding a layer of theatrical storytelling. Occasionally, it teeters on distracting, but the concept is beautiful and ambitious nonetheless.

Costumes by Patrick Holt are another example of subtle brilliance. Nothing looks like a “costume,” and that’s the point—uniforms and everyday wear that feel lived-in and authentic. Natalia Castilla’s hair design also deserves a curtain call; there’s a clever hierarchy at play, with more elaborate hair for central characters and muted styles for the ensemble, guiding your eye without a word spoken.

The scene changes, executed with clockwork precision by James O. Hansen’s team, fluidly transport us from diner to doctor’s office to home and back again without interrupting the story’s rhythm.

And what a story it is. The writing is smart, emotional, and packed with humor. One moment you’re laughing at a wildly awkward speed-dating scene, the next your heart’s cracking open over a tender lullaby to a child. It’s a masterclass in balancing tones—bittersweet but never syrupy, indulgent without being overdone. Waitress at Pioneer Theatre Company is warm, funny, heartbreaking, and hopeful—a slice of musical theatre heaven that you absolutely can’t miss. Go for the pie metaphors, stay for the powerful performances, and leave with your heart a little fuller than before.

Mar 31
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PTC’s ‘A Case for the Existence of God’

By Theater

A Case for the Existence of God, by Samuel D. Hunter, playing at Pioneer Memorial Theatre through April 12, 2025, is nothing short of being a rare gem in modern theatre—a play that is as deeply philosophical as it is emotionally resonant. Pioneer Theater Company’s production with stunning attention to detail, offers a two-person drama and an intimate, thought-provoking experience that lingers long after the final bow.

Set in a small office cubicle, the entire play unfolds within the confines of a financial advisor’s workspace. Designed by Lex Liang, the set is eerily accurate, complete with a quant desk, a small drawer, and an overhead light that perfectly encapsulates the sterile, cramped reality of office life. The raised platform on which the cubicle sits enhances the tension, making the space feel even more constrictive—a brilliant move that emphasizes the pressure both characters are under.

This story is all about an unlikely friendship between Keith, a professional financial advisor (played by Jon Hudson Odom), and Ryan, a struggling single father (played by Lee Osorio). Keith is helping Ryan secure a loan to buy back his family home as his mortgage broker. This process should be straightforward, but quickly spirals into something much deeper. As the two men navigate the complexities of finances, parenthood, and the expectations society places upon them, they form a bond that transcends their vastly different backgrounds. Hunter masterfully crafts a narrative that is both specific in its setting—Twin Falls, Idaho, which provides plenty of regional humor for Utah audiences—and universal in its themes.

Director Timothy Douglas makes excellent use of silence, particularly in the opening scene, where long pauses build tension and establish the weight of the situation. The pacing is deliberate, allowing emotions to simmer before they boil over in moments of frustration, heartbreak, and even joy. The actors bring remarkable depth to their roles, with Odom’s Keith seamlessly shifting from calm professionalism to moments of sheer terror, while Osorio’s Ryan delivers an earnest, gut-wrenching performance filled with highs and lows.

The script is packed with unforgettable lines that strike at the heart of the audience’s own experiences. One that stands out is, “They don’t really care who you are as a human, it’s all just numbers to them.” This sentiment encapsulates the play’s critique of the impersonal nature of financial institutions, while also serving as a broader commentary on how people are often reduced to figures on a spreadsheet.

The production’s technical elements are equally praiseworthy. Yael Lubetzky’s lighting design is subtle yet effective, marking transitions in time, emotion, and location with delicate shifts in tone. Sound design by Matt Mitchell remains crisp and clear throughout, even during the more intense scenes of shouting and destruction. And let’s not forget the ingenious blocking—who knew rolling office chairs could become such a dynamic part of storytelling?

Beyond its artistry, A Case for the Existence of God is a show that evokes genuine emotion. Laughter, stress, financial confusion, love, and acceptance all play a role in this beautifully woven tale of human connection. At its core, the play is a moving exploration of the similarities between blue-collar and white-collar workers, proving that while their day-to-day struggles may differ, the fundamental need for companionship and understanding is universal.

With monologues that will bring you to tears and an ending that is both tragic and uplifting, this production is not to be missed. It’s a powerful, heartwarming piece of theatre that reminds us of the importance of human connection, one that will leave you thinking long after the final lights fade.

Read more of our theater coverage and get the latest on the arts and culture scene in and around Utah. And while you’re here, subscribe and get six issues of Salt Lake magazine, your curated guide to the best of life in Utah.

Feb 20
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PTC’s Joyous Ride Through Carole King’s Hits

By Theater

It’s hard to imagine a more fitting title for Beautiful (the jukebox musical about the life and music of Carol King) because this production is just that—beautiful. From the opening note to the final curtain call, Pioneer Theatre Company’s production delivers a flashy flashback full of timeless hits, a heartfelt journey, and some of the most well-executed technical elements we’ve seen all season.

The story follows Carole King (played by the incredibly talented Sara Sheperd) as she transforms from an ambitious Brooklyn teenager with big songwriting dreams to a legend topping the charts. Alongside her husband and writing partner, Gerry Goffin (Anthony Sagaria), and their friendly songwriting rivals, Cynthia Weil (Lee Alexandra Harrington) and Barry Mann (Stephen Christopher Anthony), Carole crafts some of the most recognizable hits of the 1960s. But as her professional career soars, her personal life starts to stumble, culminating in a journey of self-confidence that leads her to find her true voice—literally and figuratively.

Right from the start, the stage sets the tone. Carole’s opening outfit is the epitome of the ’60s, instantly capturing her spirit. Every inch of the production screams time-period perfection—costumes, wigs, set pieces, and props all combine to immerse the audience in this musical era. Special credit goes to wig designer Kate Casalino, whose creations were so spot-on they could have been plucked straight from an old TV broadcast.

And let’s talk about the set! Jason Simms’ ingenious use of moving staircases allows seamless scene transitions, keeping the story flowing effortlessly from one iconic location to another. Pair that with the beautifully backlit window backdrop that subtly shifts to match each scene’s mood, and you’ve got a visual masterpiece that enhances every moment.

Of course, a show like this demands vocals that are the three Cs: Clean, Clear, and Confident. This production nails it without question. The music is fun, classic, and packed with songs everyone will recognize, from “One Fine Day” to “You’ve Got a Friend.” Every note is crisp, balanced beautifully against the phenomenal live orchestra, conducted by Helen Gregory. Her direction shines through in multiple moments, giving the music a depth and energy that truly brings this piece to life.

The choreography by Gerry McIntyre is engaging from start to finish, making every musical number feel like a live taping of American Bandstand. If you don’t leave this show humming “The Loco-Motion” and doing a little dance on the way out, did you even see it? Every ensemble member brings dynamic choices to the table, ensuring each character gets a moment to shine. And those costume changes—frequent, fast, and flawlessly executed—show an impressive level of collaboration between actors and designers.

Dawn Chang’s lighting design is nothing short of magical. The neon backdrop, cleverly resembling musical notes on a staff, adds a stunning visual element that ties the entire production together. Light dances off the actors and the stage, enhancing the electric performances. Karen Azenburg’s direction makes expert use of every corner of the stage, creating a performance space that feels expansive yet natural.

Of course, a musical is nothing without its performers, and this cast delivers across the board. Sara Sheperd is simply as inspiring as Carole, bringing warmth, humor, and raw emotion to every moment. The audience was there to see Carole King, and Sara made sure they got her in all her glory. Anthony Sagaria’s Gerry Goffin takes us on a rollercoaster of emotional highs and lows, demonstrating impressive range. Lee Alexandra Harrington’s Cynthia Weil is a powerhouse, managing to hold her own while allowing Carole to be the story’s true champion. Stephen Christopher Anthony as Barry Mann is endlessly entertaining, from his refusal to shake Cynthia’s hand to his impressive guitar skills.

James O. Hansen’s stage management deserves its round of applause—set changes were lightning-fast and seamless, never interrupting the show’s momentum. The sound design was equally strong, maintaining a perfect balance between vocals and orchestra, ensuring no lyric was lost in the music.

At its core, Beautiful is more than just a jukebox musical—it’s a story about believing in yourself and realizing your potential. Carole King’s journey is one of resilience, self-acceptance, and, ultimately, triumph. You never know how far you might go until you take that first step, and Pioneer’s production takes every step with grace, charm, and boundless energy. It’s the most hoppin’ performance we’ve seen all season, and if you have the chance to catch it, do yourself a favor and go. You’ll leave singing, dancing, and feeling, well—beautiful.

Jan 13
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Review: PTC’s Dial ‘M’ For Murder

By Arts & Culture

The Hitchcock classic Dial ‘M’ for Murder is a dark tale of betrayal, manipulation and murder claustrophobically set in one room. The theatrical version opened at the Simmons Pioneer Memorial Theatre on Jan. 13, 2025. The noir tale follows Tony Wendice (Dan Domingues), a former tennis pro with a sinister plan to dispatch his wealthy wife—Margot (Awesta Zarif)—and inherit her fortune. After learning of his wife’s affair with his friend Maxine Hadley (Lucy Lavely), Wendice hires an old college friend—Captain Lesgate Swan (Aaron Cammack)—to be his assassin. And of course, things don’t go exactly as planned. What follows is a tangled web of deceit, twists and a deft game of cat and mouse among Tony, Margot and an ever-curious police inspector (Peter Howard) determined to uncover the truth.

The set design, conceived by James Noone, is a standout element. The entire show takes place in one room, a daunting challenge for any production, yet this space is anything but static. Surrounded by an innovative glass structure, the is itself a character that can expand and contract to be both confining and expansive as the story unfolds. The glass panels—which under certain lighting cues appear to double as reflective metal—are a clever metaphor for the characters’ lack of transparency. Secrets bounce around the room just as light does, creating a visual representation of the play’s central theme: nothing is as it seems. Director Michael John Garces skillfully utilizes every inch of this dynamic space.

Because of this over-the-top interplay with the set the lighting design is a much a factor here as the set design and Tom Ontiveros’ work here is nothing short of masterful. The lighting not only enhances the mood but also aids in storytelling, shifting seamlessly between moments of levity and high-stakes drama. From the very first scene, the vibrant and period-accurate attire designed by Patrick Holt catches the eye and immediately sets the tone. Each character’s wardrobe not only reflects the 1950s era but also provides subtle hints about their personalities. (Costumes were a huge highlight in this production.)

Character choices throughout the production are sharp and deliberate, adding layers of foreshadowing that pay off beautifully. Every movement and glance seems loaded with meaning, creating an intricate dance of suspicion and revelation. The actors’ commitment to pantomime—acting without dialogue—adds a layer of depth. These moments, often quiet and understated, are as riveting as the play’s more dramatic exchanges.

Dial ‘M’ for Murder is a testament to the power of collaboration in theater. From the innovative set to the evocative lighting to the nuanced performances, every element works in harmony to create an unforgettable experience. It’s a show that proves murder mysteries aren’t just about whodunit—they’re about the thrill of watching secrets unravel one well-dressed layer at a time.

WHAT: Pioneer Theatre Company’s Dial ‘M’ For Murder
WHEN: January 10-25, 2025
WHERE: Simmons Pioneer Memorial Theatre
TICKETS AND INFO: pioneertheatre.org

Dec 10
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Linda Mugleston - PTC Souvenier - BW Productions

Preview: Pioneer Theatre’s ‘Souvenir’

By Theater

If you’ve ever belted out a song in the shower like you were singing the national anthem at the Super Bowl—despite being unable to carry a tune—then Florence Foster Jenkins might just be your spirit animal. Stephen Temperley’s Souvenir is a laugh-out-loud, heartwarming, and downright bizarre journey into the world of Florence, a wealthy New York socialite with more passion for opera than actual talent. Her determined belief that she was a star soprano, even though she couldn’t hold a note, turned her into one of the biggest celebrities of the 1900s.

This story is narrated by her accompanist, Cosmé McMoon, Souvenir isn’t just a biographical play—it’s a reflection of those who have followed their passions despite what others think. McMoon acts as both guide and foil to Jenkins, offering biting commentary, reluctant admiration, and plenty of musical prowess as he recalls the years he spent helping her chase a dream as outsized as her personality. This relationship demonstrates the complexity of the situation the show surrounds. 

This continues to build until the climactic moment when Jenkins, entirely unmoved by critics, performs at Carnegie Hall in 1944. The result? A performance is so hilariously off-key yet so earnestly heartfelt that it sold out instantly; Leaving audiences completely inspired or roaring with laughter.

What makes Souvenir truly sing—figuratively, of course—is its ability to make us cheer for Jenkins despite her lack of talent. Her charm lies in her sheer grit, the kind of unwavering confidence that turns a dreamer into a legend. While you may find yourself crying with laughter as Florence hits every wrong note imaginable, you might also find that her self-confidence is rather striking. After all, in a world full of critics, Souvenir reminds us that sometimes the most remarkable thing you can do is simply keep singing your song—even if the notes are uniquely your own.

Originally premiering in 2004, Souvenir dazzled audiences with its mix of humor, heart, and opera gone hilariously wrong. It hit Broadway in 2005, where Judy Kaye’s performance as Jenkins earned her a Tony nomination and cemented the play’s reputation as a quirky theatrical gem. 

Whether you’re an opera aficionado or someone who only sings with the radio turned way up, Souvenir will strike a chord. It’s a reminder that sometimes life isn’t about hitting the right notes—it’s about making some noise and owning it. Come for the comedy, stay for the inspiration, and leave humming (and laughing) all the way home. 

Oct 29
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Matthew McGloin, True Leavitt, Joel Leffert and Jayne Luke in Pioneer Theatre Company’s Prayer for the French Republic - Photo by BW Productions

Review: PTC’s ‘Prayer for the French Republic’

By Arts & Culture

In a powerful opening moment in Pioneer Theatre Company’s Prayer for the French Republic, the stage sits in silence for a full 30 seconds, setting a foreboding tone that foreshadows much of what’s to come. 

Prayer for the French Republic by Joshua Harmon is a multi-generational drama exploring the struggles and resilience of a Jewish family in France. Spanning 70 years, the play follows the Salomon-Benhamou family, tracing their experiences from the trauma of World War II to rising antisemitism in contemporary France. It interweaves the family’s personal stories with larger historical events, exploring questions of identity, belonging and survival. As the family faces mounting challenges and fear for their future, they grapple with the enduring impact of history and the strength needed to maintain faith in their homeland.

This production skillfully intertwines two time periods, and the theme of duality is emphasized in nearly every facet—from the sets and costumes to the props and hair/makeup. Bryce Cutler’s set design is particularly notable, with clever wall transitions that alter the stage’s appearance and entrances with a fluidity that captivates. Jose Santiago’s lighting choices, especially during the prayer scene, enhance the significance of the French Republic to the story, deepening the emotional weight of the scenes.

The actors’ line delivery feels authentic and grounded; each one exhibits an impressive mastery of character. The self-confidence, stubbornness, and often abrasive nature of the characters make them strikingly real, and the actors’ portrayals bring nuance and empathy to these challenging personalities. The staging and blocking by Karen Azenberg are equally fascinating, adding depth to the audience’s perspective. Moments where characters turn their backs to the audience subtly convey the sense of “looking into” the scene, rather than being within it, immersing the viewer in the characters’ complex world.

Family drama pulses through every scene, with unrelenting arguments and moments of raw vulnerability. Act II brings unforgettable monologues from Robert Mammana, Kim Taff, and Jayne Luke, each performance stirring a mix of emotions. Molly, a distant American cousin, witnesses antisemitism faced by her family. This uncomfortable but crucial lens forces the audience into a passive position, where they can empathize but feel powerless to intervene, mirroring the experience of those affected by such prejudice. Playwright Joshua Harmon succeeds in making the audience feel the intensity and helplessness that come with religious persecution.

The political undertones are undeniable, sparking discourse around American and international politics, and adding depth to an already complex narrative. Costume design by Susan Branch Towne does an impressive job of depicting the two time periods, with some characters undergoing frequent costume changes while others remain almost constant—a contrast that may or may not be intentional but enhances the duality theme.

Overall, this production delivers a gripping portrayal of family, faith, and resilience. It’s an honest exploration of religious persecution, full of weighty political viewpoints and moments of reflection. With intense scenes and themes, trigger warnings for language, mental health discussions, and talk of death and suicide are warranted. In a production that provokes and challenges, a line captures the heart of the play: “You can fight for what’s right anywhere, but you have to be alive to do it.”

Sep 17
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Brent Thiessen, Trevor James, Daxton Bloomquist, and Adam Enrique Hollick in Pioneer Theater Company’s production of Jersey Boys. Photo by BW Productions.

Review: ‘Oh what a night’ at PTC’s ‘Jersey Boys’

By Arts & Culture

Searching for a beautiful flashback of nostalgia? Are you ready to have your socks knocked off with flashy falsetto? Looking for something you can sing along to? Do true stories of the American dream inspire you? Then what are you waiting for? Get over to see Pioneer Theatre Company’s Jersey Boys. The show runs through Sept. 28, 2024, at the Simmons Pioneer Memorial Theatre on the University of Utah campus. 

Part documentary, part theatrical-exposé, part dramatic-comedy, this is not your typical jukebox musical. This has an authentic, natural flow to the songs; Bringing to life the exciting growth and eventual conclusion of Frankie Valli and the Four Seasons.

Right from the get-go, the pacing is quick and engaging. It is a perfect demonstration of the environment of New Jersey Streets, and this particular group of guys. I compliment Director, Karen Azenberg, and the cast for keeping this show quick to the punch and exciting.

Composing the quartet on stage were Adam Enrique Hollick (Tommy DeVito), Daxton Bloomquist (Bob Gaudio), Brent Thiessen (Nick Massi), and Trevor James (Frankie Valli). Each actor had phenomenal moments on stage, together and individually. Personalities for their characters were quickly established on stage. Allowing you to understand and develop relationships with the group right from the beginning. 

This show has a unique narration style that gives the audience a chance to hear from all four members of the group. These actors had the audience eating out of their hands the entire night. Each one of them displayed exceptional skills in comedic timing, vocal skill and charismatic influence.

Along with the “Four Seasons,” I would like to throw a special acknowledgment to the ensemble of this show. The talent and stage presence of this ensemble cast helped this show stand out amongst the rest that I have particularly seen at PTC. Each member of the ensemble had their own stage story to tell and they were crucial in this performance.

The vocals were exactly what you should expect; smooth and captivating. From the creamy baritone to the dynamic falsetto, Phil Reno (Musical Director/Conductor) captured the Four Seasons’ Hall of Fame sound. Meanwhile, the dialects convinced me the whole cast was from New Jersey. Sarah Shippobotham (Dialect Coach) brought the authenticity of this show to the next level.

Sound Design, (Aaron Hubbard) had a good balance for the most part. There were some moments when certain individuals were noticeably louder than the others on stage, pulling from the performance. Choreography (Dance Captain – Lenny Daniel) was also classy and simple throughout the show. You could tell the Jersey Boys spent more time with the choreographer than the rest of the cast, resulting in a disparity between the two groups.

Deeply impressed by the storytelling that came from Brenda Vand Der Wiel’s Costume Design. In the beginning, everyone is in dull browns and yellows. As the story begins to unfold (and more importantly) as the group gains popularity, you can see their clothes getting nicer, bigger, fancier and flashier. All the things you would expect to see with rising celebrities. However, as the show goes on and the group continues to change, they slip into more refined and classy-looking attire. The costumes were period and believable.

Jo Winiarski’s set was an impressive system of moving pieces. Multi-faceted layers, constantly shifting to fit the new location of the show. Each humongous piece moves quickly and effortlessly, without distracting the audience. The set changes seemed to fall into the natural blocking of the show, regardless of the size of the set piece. An impressive feat of logistics from Stage Manager James O. Hansen and the crew.

Lastly, I will say that the lighting played off the set and actors in such an inspiring way. The Blues and Pink’s glistening off the whole stage is something that I haven’t been able to stop thinking about. I don’t think I have ever seen a lighting design that has caught my attention more. Well done PTC and well done Christina Watanabe.

Do keep in mind that this show contains strong language. It’s a show about a group of guys from New Jersey, what do you expect? 

Overall, I would highly recommend this show. It was entertaining and exciting the whole way through, exceeding my modest expectations. This is a great opening show for PTC’s 2024-2025 Season that you won’t want to miss. Come see these Jersey Boys “Walk Like A Man” at Pioneer Theatre Company this September.

  • WHAT: Jersey Boys

  • WHEN: Sept. 13 through 28, 2024

  • WHERE: Pioneer Theatre Company, in the Simmons Pioneer Memorial Theatre

  • Tickets and info: pioneertheatre.org

Sep 11
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Jersey Boys in Utah

 Preview: PTC’s ‘Jersey Boys’

By Arts & Culture, Theater

Ready to be serenaded and scandalized all at once? Jersey Boys is hitting the stage at Simmons Pioneer Memorial Theatre on Friday, Sept. 13, 2024. It’s bringing the magic of Frankie Valli and promises to bring the magic of The Four Seasons to life right before your nostalgic eyes.

This jukebox musical takes us on an exciting ride through the lives of Frankie Valli, Bob Gaudio, Tommy DeVito, and Nick Massi—four guys from Newark who went from neighborhood nobodies to international icons. Think of it as The Sopranos meets “Bohemian Rhapsody,” with a soundtrack so iconic it might be in your own Rock ’n’ Roll Hall of Fame.

The plot unfolds, revealing the band’s story from four distinct perspectives. Frankie Valli, with his unmistakable falsetto, is the charming lead whose ambition and talent push the group to stardom. Bob Gaudio, the musical mastermind, brings the hits and helps keep the band’s sound fresh. Tommy DeVito, the flamboyant troublemaker, adds to the drama with his larger-than-life personality and financial woes. And Nick Massi, the quiet bass player, provides the steady backbone—literally and figuratively.

The musical covers their rise to fame, starting with their early days playing local clubs and struggling to get noticed. The story takes a few twists and turns, exploring their personal lives and the challenges that come with sudden success. Expect a rollercoaster of emotions as the group deals with everything from creative differences to financial struggles and personal betrayals.

And, of course, there’s the music. The show features an electrifying playlist of The Four Seasons’ greatest hits, from the infectious “Sherry” to the classic “December, 1963 (Oh, What a Night)” and “Can’t Take My Eyes Off You” It’s a non-stop parade of unforgettable melodies that will have you tapping your feet and singing along before you even realize it. We’re excited to see this production of a musical that blends top-notch tunes with a juicy behind-the-scenes look at one of the biggest bands of the ’60s, Jersey Boys is your ticket to a night of pure entertainment. I’m curious to see firsthand why this show had a 12-year residency on Broadway. I’ve got my tickets and dancing shoes ready.

Read our full review of Pioneer Theater Company’s Jersey Boys.

  • WHAT: Jersey Boys

  • WHEN: September 13-18th, 2024

  • WHERE: Pioneer Theatre Company, in the Simmons Pioneer Memorial Theatre

  • TICKETS AND INFO: pioneertheater.org

May 06
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Great Comet of 1812 opening at Pioneer Memorial Theater

Natasha, Pierre & The Great Comet of 1812 to open at PMT

By Arts & Culture, Theater

As improbable as it seems, Leo Tolstoy’s 1869 novel War and Peace has been turned into a Broadway musical. The production, Natasha, Pierre & The Great Comet of 1812, originally opened on Broadway in 2016 and starred Josh Groban. The production has finally made its way to Utah and will open at the Simmons Pioneer Memorial Theater on May 10, 2024.

Nominated for 12 Tony Awards, this hit Broadway Show will have you swooning through imperialist Russia on a vodka-soaked wild ride. This story encompasses love and lust, and everything that comes with it. From rogues to redemption, dancing to dueling Tolstoy’s epic tome has it all and is strangely charming converted to musical form. 

Natasha is visiting Moscow while she waits for her beloved fiance, Andrey. While feeling lonely and uneasy about the engagement, she is seduced by Anatole Kuragin. Anatole, who is married, ruins Natasha’s position in the community with the scandal and her engagement. The misanthropic Pierre Bezukhov may be the only compassionate person to help redeem her standing. But can he get past his own lonely, internal struggles?

Leo Tolstoy was an esteemed Russian writer. Possibly, one of the most influential authors of his time. He received nominations for the Nobel Prize in Literature consistently from 1902 to 1906, and for the Nobel Peace Prize in 1901, 1902, and 1909. War and Peace is one of his most notable works; often credited as a pinnacle of realist fiction, some critics even called it “the greatest of all novels.” (You may disagree if you had to slog through it during college.)  
This production is a musical. This show is full of musical numbers. On stage, there will be a cast of 20 amazing actors; So, come ready to see some triple threats (excellent singing, dancing, and acting). The score of Natasha, Pierre & The Great Comet of 1812 merges Russian Folk, Classical, Indie Rock, and EDM influences. Dave Malloy, the score’s writer and orchestrator, has written 14 musicals. His long list of awards speaks for itself, but this particular show has to be one of his biggest achievements. The New York Times called it “the most innovative and best new musical to open on Broadway since Hamilton!” Looking forward to seeing it for myself.

  • What: Natasha, Pierre & The Great Comet of 1812

  • When: May 10 through 25, 2024; Monday through Saturday

  • Where: Simmons Pioneer Memorial Theatre, 300 S. 1400 East, SLC

  • Tickets: $55-79 ($5 extra, if purchased at the door) and are available at pioneertheatre.org or by calling PTC’s Box Office at (801)581-6961.

Apr 03
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Seth-Andrew-Bridges-William-Connell-and-Jeff-Talbott-_-Credit_-BW-Productions-1

Review: ‘The Lehman Trilogy’ by PTC

By Arts & Culture

Pioneer Theatre Company (PTC) opened its production of The Lehman Trilogy on March 29, 2024, in its brand-new space, The Meldrum Theatre. The high-stakes world of high finance has never been so entertaining (and you can take that to the bank).

The play is part history, part Corporate thriller as it follows three immigrant brothers on their journey as they build an empire from garment production and cotton trading onto the highest heights of Wall Street as Lehman Brothers Inc. But what goes up must come down and this 150-year-long saga takes us from rags to riches and back again. 

This play is an actors’ delight with just three players (Jeff Talbott, William Connell and Seth Andrew Bridges commanding the stage in more than 50 roles. Henry Lehman (Jeff Talbott) opens the show with a gorgeous monologue. His flawless storytelling and characterization paint the perfect picture of an immigrant moving to America from Germany, his fears and his hopes. He is joined by Emanuel Lehman (William Connell). William’s focus on pacing and mood sets the tone of each scene. Finally, Meyer [Spud] Lehman (Seth Andrew Bridges) enters. Throughout The Lehman Trilogy, Bridges demonstrates an incredible range of emotional variability, creating an atmosphere of care for the whole Lehman family. In the script, the three characters are described as a body: Henry, the head; Emanuel, the arm; and Meyer, the guts and heart. Together, the three actors forge a full-body performance on a fabulously designed set that takes full advantage of the new Meldrum Theatre’s capabilities.  

The Lehman Trilogy in Salt Lake
The Lehman Trilogy debuted at PTC’s new Meldrum Theatre. Photo by BW Productions.

The new theater, play’s set and production design are themselves a character. The Meldrum Theatre’s elevated thrust stage was pre-set as we entered the theater, giving us tantalizing glimpses of massive set pieces. The staging was thorough and playful with the audience, incorporating much of the space including stairways. Matching the production pyrotechnics are the three actors deftly pacing lines and blocking with live set changes. Costuming, designed by Yoon Bae, was a star of the show, giving the actors solid footing to reveal their characters as the historical periods and the Lehmans’ financial and social status evolves.

This show had us on the edge of our seats for its three-hour run time, It was dazzling to see the actors flip through the more than 50 roles like a deck of cards. And even though we all generally know what became of Lehman Brothers Inc., in the market crash of 2008, the audience was easily sucked into the story and wondering what came next. Perhaps it was the pleasure of seeing corporate giants get knocked off their pedestals—you don’t need to have an MBA to enjoy that.