By Jason and Alisha Hagey
Perhaps more than any other theatrical experience, SLACabaret: Down the Rabbit Hole at Salt Lake Acting Company celebrates Utah’s assortment of crazy characters and cultures. After an amazing season of witty, intelligent, and dynamic productions, SLAC proffers its audience an event that turns their brilliant spotlight to the people of our state. Every year, SLAC creates an original production that captures the ridiculousness and loveability of Utah. This year, SLACabaret is a special blend of biting commentary and whimsical comedy that will have you thinking and laughing in equal parts.
When the reality that Salt Lake City is absolutely soaked in conventions meets the fantastical absurdism of Wonderland’s characters, anything can happen. The story takes place at a prototypical essential oils convention in Salt Lake City: ōilCON. To bring out the purpose and meaning of the play, SLACabaret has similar themes that parallel Lewis Carroll’s story of Alice: growth and how people change, the whole mystery of not knowing who you are, and being confused about your position in life.
Olivia Custodio, Emilio Casillas, and Michael Leavitt (Playwrights) put their fingers to the artery of what makes Utah live, culminating in popular culture, current politics, and statewide lifestyles that both ridicule and rejoice in what is happening here and now. They are fearless in pointing out our foibles. They give us cast members inebriated on diet Coke, popular musical parodies filled with biting commentary about local government, and testimonies born of essential oils.
Cynthia Fleming (Director/Choreographer) is a master of tableau in this production. The visual moments, the staging of actors in positions that say so much about their relationships, are comic gold. The only thing to outdo her tableaus is her choreography. Her group numbers provide frenetic flair to every song. The dancing is as hilarious as the lyrics.
Each of the actors represents someone from Wonderland: Cheshire Cat, Caterpillar, March Hare, Mad Hatter, etc. The charismatic and ubiquitous Annette Wright (Cheshire Cate) comes to the stage through a video screen and dazzles with her complete resplendence. Sarah Shippobotham (Abe Tomlinson/Caterpillar) shows off her incredible talent for acting and dialects throughout the show. She also provides a powerful connection between the audience and the story – she’s the necessary stitching together of everything that happens on stage.
Sean Cater, Aaron Linford Allred, and Kimi Handa Brown. Image Credit by Todd Collins
The large ensemble is immediately reminiscent of the Into the Woods cast (and this is emphasized by the opening number of the play). There are groupings between characters. Kim Handa Brown (Marjorie Hatch/March Hare), Aaron Linford Allred (Mad Hatter), and Sean J. Carter (Dorian Mayes/Dormouse) come as a married couple and their gay friend. Brown and Allred play off each other as a husband and wife in crisis, mostly because they are entirely different personalities, but their onstage chemistry makes them fun to watch. Carter pops in with enthusiastic bombasity (often stating that he’s Dorian – never wanting to be forgotten) and leaps about the stage with a loveable ferocity that makes you wonder what he’s going to do next.
As Tweedledee and Tweedledum, Danny Borba (Ryker), and Joseph Paul Branca (Stryker) are an electric pairing. Their characters feel like the best friends they say they are. They deliver every line with perfect impetuous naivete and sincerity. They have the talent and the pizzazz to put on a show all on their own. They would make a fascinating interpretation of Vladimir and Estragon in Samuel Beckett’s Waiting for Godot.
An unexpected companionship is Niki Rahimi (Trudy Smith/Mock Turtle) and T Anthony (Holly Wood /@queenofhearts). These two bring everything you want from SLACabaret: energy, talent, and boundless amounts of awesomeness. Neither has any shame, both are open and natural, and the total package is fun and fabulous. Rahimi’s solo is a solid, touching ballad that makes her vulnerable and empathetic in an instant. Anthony’s twerking is worth the wait to see.
Kelsie Jepsen (Debbie Smith/Duchess) and Daisy Ali All (Alice Smith/Alice) are the quintessential mother/daughter duo – the mother wanting things a certain way, wanting to give her daughter all the best in the world, and her daughter wanting to break away and be herself. Jepsen is perfect in the role with conservative panache and matronly concern. Ali Ali’s fresh, innocent disposition gives the audience someone to believe in.
The design is all so beautifully harmonious. Gage Williams (Scenic Designer), Heidi Ortega (Costume Designer), and Jesse Portillo (Lighting Designer) all have the greatest time blending loud colors and versatile spaces, all while giving us the feeling of Utah. Alongside these incredible artists, Michael Francis (Projection Designer), and Kenny Riches (Film Director/Editor) join the ranks. Together, these creators give us the most wonderful playground. It’s wild, absolutely silly, and well-orchestrated.
The best party in town also comes with a fabulous live band. Michael Leavitt (Musical Director/Keyboardist), Nick Fleming (Guitar), and Spencer Kellogg (Soprano, Tenor, and Baritone Saxophones) are awesome. Their music is constantly changing styles without ever missing a beat. Perhaps live music is something I missed the most during lock-down. I must not be the only one because SLAC keeps killing it with their bands this season.
SLAC has a longtime history with summer shows reveling in all things Utah and all things idiosyncratic in our state. Saturday’s Voyeur was wry and raucous. As our culture seems to be less and less inclusive, Salt Lake Acting Company continues to be more and more loving, without losing any of that wry and raucousness. Out of this outpouring of love comes the blissful and poignant SLACabaret. Like its predecessor, it is a fantastic time. Come for the laughter, come for the great company, come because you want to see a hilarious show. You get all of that and a supportive community of Utahns laughing at being here, and kind of grateful for it too.
Running Time 90 minutes + 15-minute intermission
This show contains language and might not be suitable for a younger audience
Salt Lake Acting Company Presents SLACabaret: Down the Rabbit Hole by: Olivia Custodio, Emilio Casillas, and Michael Leavitt
Salt Lake Acting Company – Upstairs Theatre – 168 West 500 North, Salt Lake City, Utah, 84103
July 13, 2022 – August 12, 2022
Ticket Cost: $41
Box Office Phone: 801.363.7522
Box Office Email: info@saltlakeactingcompany.org
Open 11am – 5pm, Mon – Fri
SLAC Website
SLAC Facebook Page
Open Captioned Performance
July 31st at 6pm
Audio Described Performance
August 3rd at 7:30pm
Sensory Performance
August 6th at 2pm
ASL Interpreted Performance
July 26th at 7:30pm
FOOD & BEVERAGE
Audience members will once again be allowed to bring their own food and beverages into the theatre, marking the first time since 2019 that SLAC’s summer tradition has been able to continue.
It should be noted that SLAC’s signature table seating will return in summer 2023.
COVID-19 SAFETY REQUIREMENTS
It should also be noted that Salt Lake Acting Company is requiring all audience members to show proof of COVID-19 vaccination or proof of negative COVID test within 48-hours of the respective audience member’s ticketed performance. Well-fitting face masks are strongly encouraged when not eating or drinking. SLAC’s full COVD-19 Safety Guide can be found here.
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