Front Row Reviewers

Nov 13, 2022 | Reviews

Good Company Theatre’s Developmental Production To Saints and Stars is Out of This World

Front Row Reviewers

Front Row Reviewers

By Keolanani Kinghorn

Now playing at the Good Company Theatre in Ogden, Utah, To Saints and Stars, written by Jordan Ramirez Puckett and directed by Alexandra Harbold, is a developmental production that brings us face to face with a not-so-distant future, where faith and science collide. Best friends Zoe (Chelsea Jurkiewicz) and Sofía (Kassandra Torres) grew up together and still talk daily, but now that they are adults living very different lives—Zoe as the wife of a Greek Orthodox priest and Sofía as a NASA astronaut in training—each one struggles to relate to the other and answer the questions, “Can we solve the environmental crisis we are in?” and “Who will save us?” Zoe’s life revolves around her faith and her husband, John (Alvaro Cortez), as he finds his place as a new Greek Orthodox priest in San Diego. For Sofía there is nothing but her drive to join NASA’s new mission: she has very few close relationships, her mother has passed, and her father has disappeared. So, when she meets Ken Roberts (Alex Smith), an unfriendly and fierce competitive partner at astronaut training, she has to figure out both how to get him to take her seriously as a partner and how to work with him. Through their daily phone calls, Zoe and Sofía express their struggles as well as their beliefs—and they don’t always see eye to eye. When Sofía finds out that Zoe is pregnant, she does not understand why Zoe wants to bring a child into such an unpredictable world. Zoe is equally baffled about Sofía’s desire to be chosen for a mission to go to another planet.


I was so impressed with this small cast of four actors (with three additional voiced characters) and how they are able to convey complex themes and act so well on a limited set. Puckett’s writing is beautiful and Harbold does a fantastic job of directing this cast of truly exceptional actors. The transitions in this show are clever and nuanced and there are several times when scenes are layered upon each other, as Zoe’s and Sofía’s lives miraculously align from afar despite their contrasting circumstances, locations, or beliefs. At the end of the play, Zoe and Sofía share a monologue that jumps back and forth between the two: showing that after all this time and even though they have changed, they are still in sync—they are still best friends.

The set, designed by Kristen Flores, is round and black with unique set pieces that combine to create a futuristic look. Industrial Edison bulbs hang from the ceiling, complementing the gold circles and orbits painted around the room by scenic painter Camille Washington. Lighting designer Darren Maxfield gives the dark space the perfect glow and even utilizes strobe lights and smoke for the launch of the spaceship. Sound designer Lydia Pearce adds to the launch with rocket sound effects and perfectly balances the additional voices of the NASA Commander (Robert Scott Smith), Home Assistant and Voice (Vande Veegaete), and Keith (Aaron Adams). Although these characters do not appear on stage, the voice acting is powerful enough that we can imagine the whole character without seeing them. Adams in particular does a fantastic job of making Keith creepy. The onstage characters are completed with makeup and hair design by Daisy Allred and costume design by Camille Washington, which includes two very realistic-looking NASA jumpsuits.


Because of language and a strong indication of sexual, physical, and emotional abuse from Sofía’s father, To Saints and Stars is suggested for a more mature audience. Bright flashes of light and ceremonial smoke are also used during the production, which might affect some viewers. For the safety of the performers and other audience members, patrons are asked to wear a mask.

I found To Saints and Stars to be an intriguing and thought-provoking performance that left me with a lot of generative questions. It’s a play that I would love to teach at a high school or college level, and it is not hard for me to see this play going places; I hope it does because Puckett’s writing is out of this world!

Good Company Theatre is owned and operatized by Alicia and Camille Washington and is the only live theater in Utah owned by Black women. They want it to be a safe place for audiences and artists “to hone their craft and to take risks that maybe they have been disempowered to take other places” (quoted in Becky Jacobs’s Salt Lake Tribune article). They have come a long way since their first theater, which was in a 1,200-square-foot space on 25th Street, above an adult novelty shop. It had a “crumbling infrastructure,” Camille said, and “our swamp cooler leaked on the audience.” It is empowering to see these sisters succeeding in their beautiful new space, and knowing how hard they have worked makes me want to support Good Company Theatre all the more. So come support the Washington sisters at 2404 Wall Avenue in Ogden, Utah, and see To Saints and Stars for yourself!

Good Company Theatre Presents To Saints and Stars, written by Jordan Ramirez Puckett.
Good Company Theatre at 2404 Wall Avenue, Ogden, Utah, 84401
November 3–20, Fridays and Saturdays at 8 PM, Sundays at 4 PM
Tickets: $17 (student), $25 (general admission)
Good Company Theatre Website

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