Romeo and Juliet
All Is Calm
La Cage aux Folles
The Play That Goes Wrong
A Christmas Carol 2018
In The Heights
The Comedy of Errors
The Marvelous Wonderettes
A Funny Thing Happened...
...On the Way to the Forum
Disney's The Little Mermaid
A Christmas Carol 2016
Next To Normal
The 25th Annual Putnum County Spelling Bee
- A Flea in Her Ear
- Santa Cruz Shakespeare
- a new version of Georges Feydeau’s Farce by David Ives
- July 7 - August 30, 2020
- The Wolves
- Syracuse Stage
- by Sarah DeLappe
- January 22 - February 15, 2020
- All Is Calm
- Alabama Shakespeare Festival
- By Peter Rothstein
- Vocal Arrangements by Erick Lichte and Timothy C. Takach
- December 7 – December 29, 2019
- Disney's The Little Mermaid
- PCPA Theaterfest
- Book by Doug Wright
- Based on the Hans Christian Andersen story and Disney film
- Music by Alan Menken
- Lyrics by Howard Ashman and Glenn Slater
- November 7th - December 22nd
- In adapting the animated original of Disney's The Little Mermaid for the stage, director Melissa Rain Anderson tosses in magic and motion.
To elevate the fairytale magic of the story, Anderson brought in the team of circus artists, Ben Franklin and Joshua Dean, who trained the cast in trapeze and other circus arts for this production; they also lend their acrobatic talents to it as performers. The trapeze and circus aspects add a feeling of weightlessness along a vertical plane as kelp, anchor lines, and floating jellyfish take flight. In the musical number, "Kiss the Girl," the circus elements create an aerial spectacle as birds soar down from the sky to the sea.
– Anna Jensen, Broadwayworld
- Director Melissa Rain Anderson delivers everything we expect from a PCPA holiday production – spectacle, fun and heart.
– Brent Parker, Santa Ynez Valley News
- PCPA goes all out in its production of “The Little Mermaid,” and the spectacle is awe-inspiring....Something that makes the show stand out from other PCPA productions is that this one has collaborated with New York City’s 2 Ring Circus to bring breathtaking aerial feats to life on stage. This helps make the action to look as if you’re under the sea, swimming with all the sea creatures, or on a ship watching sailors climb the tall mast.
– Daniel Lahr, Santa Ynez Valley Star
- La Cage aux Folles
- Geva Theatre Center
- Book by Harvey Fierstein
- Music and Lyrics by Jerry Herman
- Based on the play by Jean Poiret
- September 3 – October 6
- There is only one word to describe the current production of Macbeth at the Utah Shakespeare Festival: engrossing. Nearly every scene is a triumph of directing and acting that makes it obvious why Macbeth is one of Shakespeare‘s greatest tragedies.
Director Melissa Rain Anderson is a master of the stage picture, and frequently I wanted to stop the action and take a photograph because of the artful way that Anderson had arranged her actors. Whether it was the banquet scene with its Renaissance symmetry or the synchronous movements of the witches, Anderson created visually appealing scenes that easily grabbed my attention. I also appreciated the way that Anderson added ritual to the play, especially when Lady Macbeth called upon demons to “unsex” her or when Macbeth asked demons to strengthen him. Finally, Anderson was effective in putting the “horrible imaginings” of Shakespeare’s script on stage, with the murder of Lady Macduff and the appearance of the ghost of Banquo being gruesome yet compelling to see.
At just two hours (not including a 10-minute intermission), this Macbeth is a whirlwind of a production that grabs its audience forcefully and never lets go. Anderson and her virtuoso cast have created a production that displays the consequences of being “sick at heart.” I can, without reservation, recommend this Macbeth to any audience member, whether they are a Shakespeare novice or aficionado. An equally engrossing Macbeth is not going to happen in the near future . . . or so the witches tell me.
– Russell Warne, Utah Theatre Bloggers
- The three witches are often referred to as a collective and this production drives that point home as they often seem to be speaking as a hive mind and finish each other’s words or sentences. Director Melissa Rain Anderson has rooted this production in a heightened awareness of supernatural traditions in Scotland as well as Elizabethan superstitions and the performances of Hollis, Geer and Mugavero are as unearthly as they are riveting.
The more minor characters are most effective in conveying a sense of urgency. There are times when the Porter (Armin Shimerman) lumbers drunkenly to answer a knock on the door or guards banter easily with their lord; these are set as a stark contrast to the scenes in which characters are scrambling down staircases or fleeing up the aisles of the theater. The director’s choice to use several children in the foreground or background of the action conveys innocence or helplessness.
Scenic Designer Apollo Mark Weaver‘s Scottish setting is geared towards a state of decay and imbalance, whether with off-kilter crossbeams or trees that shed their leaves at significant moments and the dais that acts as cauldron, castle court, and conjuring circle is ingeniously used. The lighting design by Michael Pasquini appropriately emphasizes the theme of blood. Costume Designer David Kay Mickelsen provides garb that is elaborate, but era-appropriate, and hints at intentions and allegiances. Music Director Brandon Scott Grayson and Sound Designer/Original Music Composer Lindsay Jones collaborate to heighten tensions, while Fight Director Paul Dennhardt ensures that the tensions are visually riveting.
The Scottish play is running all summer long and is well worth watching soon and often. So screw your courage to the sticking place and join the Utah Shakespeare Festival for an unforgettable night at Dunsinane.
– Jennifer Mustoe, Front Row Reviewers