By Jason Hagey and Alisha Hagey
Near the new Salt Lake International Airport, in downtown Salt Lake City, is Salt Lake Acting Company’s newest summer sensation, #SLACabaret 2021 – a farcical, satirical love letter to all things Utah. And this is true love. The philosopher Sam Keen once said, “You come to love not by finding the perfect person, but by seeing an imperfect person perfectly.” #SLACabaret 2021 does this, not with a person but with a whole state. The journey the cabaret takes us on is filled with original lyrics to well-known music and complete hilarity from beginning to end.
As some of you may have already endured, recently we found ourselves going through the “new” Salt Lake International Airport. Our family headed out beyond outer darkness as we slogged our way to get to Terminal B (and it is a hike). Though the new building is impressive, the airport is a behemoth of twists and turns where you can easily get lost (or run over by the trams). #SLACabaret sets itself in this new and somewhat shiny airport and capitalizes on the fact that it is massive and confusing, to an outrageous degree. Mack (Nia) arrives and has the intention of heading to an interview for a new job in Salt Lake City. Instead, she finds herself caught in the throes of the layout, unable to find the exit. Thus begins an adventure for Nia and the audience alike that will keep you laughing throughout: at yourself and everyone and everything you know here in Utah.
She may be a clueless newcomer to these mountain tops and desert valleys, but Nia’s plucky enthusiasm and street-smart attitude get her through the most harrowing experiences. Mack has the powerful, resonant voice of a diva, like Barbra Streisand or Aretha Franklin. She shines throughout the show. Joining her is Jae Weit (Parker-Avery) who, as Nia is coming to Utah, is desperately trying to leave Utah. The two instantly bond and Weit is absolutely loveable from the start. Weit delivers with fantastic comic timing and is an amazingly empathetic character.
Unlike most satire, often used to ridicule and revile, Aathaven Tharmarajah (Kavin) transcends the normal trappings of spoof, elevating the whole show with his believable, redeemable, and earnest performance. It is easy to poke fun at missionaries and return missionaries, but Tharmarajah’s portrayal does not allow for poking fun. His achievement is encapsulated in complete honesty, which makes him hugely funny too, and Kavin is a well-rounded, beautiful human being throughout.
Equally human is Michael Hernandez’s Hudson. The airport manager Hudson, due to unusual and all-too-believable circumstances, ends up getting to and staying in Utah by complete accident. While at first appearing to be just another airport manager (this role is often relegated to two dimensions), Hudson’s evolution makes him real and sympathetic. Hernandez approaches Hudson with incredible clarity and refuses to be a mere stereotype. Instead, Hernandez creates a representation of the common man while being entertaining.Despite all these amazing performers, Olivia Custodio (Caren/Pioneer Lady) absolutely and without a doubt steals the show. Her ‘Karen’ who changes her name to ‘Caren’ with a ‘C’ because Caren starts with Care, is a riot. She fits the stigma of every person’s experience with poor customer service, conspiracy theorists, and just plain ‘ole nut jobs. She is the person you do not want to be stuck with on a train or next to on a plane or especially in an airport. Custodio does this role brilliantly. Like many of the cast, she plays multiple roles. Her other infamous character is the Pioneer Lady. I don’t want to say much, except, be prepared to laugh until you have to hold your insides together, so you don’t have an accident (of course they add this element after intermission). Tears will flow as you laugh until you cry. As over-the-top as her characters are, Custodio somehow manages to also add a human element to them. She is the aunt we all roll our eyes at over Thanksgiving dinner, and we love her even more for it.
There are many other gems in this 90-minute romp. Niki Rahimi (Narrator) has the most incredible voice. Mina Sadoon and Matthew Tripp play multiple characters who always bring a laugh. You can’t miss their Olympic portrayal or as the expecting couple going around searching for new ways to get more likes and followers. As well there are other fantastic actors rounding out the ensemble, and a fabulous, not-to-be-missed live band (boy, we have missed live concerts, and this helps satisfy that desire).
Michael G. Leavitt (Music Director) and Jordan Maria (Choreographer/Assistant Director) bring the music and the dance to just the right levels of fun and funny that a show like #SLACabaret needs to truly be a satirical cabaret. When a character or ensemble breaks into song, their performances add humorous heat to the moment. The dancing is both inventive and side-splitting, accentuating the ludicrous with its playfulness.
Michael Horejsi (Set Designer) transforms the Upstairs Theatre into the “it” place to be. It gives off the vibes of a hip bar or club you might find in Prague. Jesse Portillo (Lighting Designer) creates illusions with neon. Portillo plays with each scene and harkens it back (intentional or not) to the music videos the songs are based on. Both the set and lighting add a whole other contextual layer of complexity, like an additional verse in the music.
Cynthia Fleming (Director) leads this madcap parody of Utah culture with obvious insight into the madness, mayhem, and charm that makes Utah, Utah. Fleming takes the real and ridiculous and makes our little microcosm a wonderful place to be. Penned with comic genius by Martine Kei Green-Rogers, Aaron Swenson, and Amy Wolk (Playwrights), #SLACabaret is planned to be a yearly and fresh sojourn into silliness, and this first installment will leave you wanting more (but you will have to wait until next year for that).
What we absolutely love about this unique and wonderful production is that whether you have lived in Utah your whole life, or you are a recent transplant, or perhaps you are just coming to visit, #SLACabaret is a celebration. It recognizes the inside jokes and unique aspects of living here and writes for the audience a comedic love letter. Everything is about friendship and inclusivity. We all need a safe place to gather and #SLACabaret offers each of us that haven; to laugh and revel together.
IMPORTANT INFORMATION TO KNOW:
-All attendees must show proof of full vaccination upon arrival. Once inside, face masks are also required, except for when hydrating.
-Food is not permitted in the theatre for #SLACabaret, unfortunately.
-Due to an unforeseen delay, SLAC’s new elevator will not be available to patrons for #SLACabaret. Patrons requiring accessibility accommodations (and who already hold tickets or have a season subscription) should contact SLAC’s Accessibility Coordinator Natalie Keezer (or 801-363-7522) to discuss refunds and streaming options for #SLACabaret. We at Salt Lake Acting Company deeply apologize to our patrons for this situation.
-Any patron (or party that includes a patron) who usually requires assistance into the Upstairs Theatre will be provided a code to stream #SLACabaret for free. The production will stream August 28 through September 12. Please contact the SLAC Audience Relationship Team to arrange. ( or 801-363-7522)
Salt Lake Acting Company Presents #SLACabaret by Martine Kei Green-Rogers, Aaron Swenson, and Amy Wolk
Salt Lake Acting Company – Upstairs Theatre, 168 West 500 North, Salt Lake City, Utah, 84103
In-Person: August 11 – September 12, 2021
Streaming on SLAC Digital: August 28 – September 12, 2021
Ticket Cost: $20-44; $15 students; $20 30 and under
Digital Content Prices: $20 for a 48-hour viewing window on SLAC Digital.
SLACDigital.AtHomeArts.org
Box Office Phone: 801.363.7522
Box Office Email: info@saltlakeactingcompany.org
Open 11am – 5pm, Mon – Fri
www.saltlakeactingcompany.org
SLAC Website
SLAC Facebook Page
*This show contains strong language
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