By Aidan Tappert and Bridget Matsuda
In Pieces, directed and choreographed by Eric Sciotto, leaps confidently onstage at the University of Utah’s Babcock Theatre in Salt Lake City. This contemporary song cycle by songwriter Joey Contreras tells multiple stories of people looking for love, and of the triumphs and tragedies that come with that quest. For those unfamiliar with the form, a song cycle consists entirely of musical numbers centering on a central theme, without the use of dialogue or traditional scene structure. Contreras’s pop background is evident in the score, full of strong “hooks” and appealing melodies. The music grabs your attention and holds it for the entire run time (around 85 minutes) with help from an excellent live band, led by music director Alex Marshall.
Despite the lack of dialogue, there’s a story here—several stories, in fact. In Pieces opens quietly with “Fork in the Road (Intro),” a reflection on paths not taken, before jumping straight to the up-tempo “You Never Know.” From there, the music takes us on an interwoven journey through moments in each character’s love life over several years. As the title implies, we only see glimpses of their search for connection. A range of experiences is on display here: early on, the relationships are often hesitant, or so new that they border on fantasy. The charming “Me and Mr. Popularity,” for example, shows the unlikely relationship between bookish Charlie (JT Kaufman) and popular athlete Grey (Carson Peasley), while “My Simple Request” is a wistful account of a parasocial Facebook crush sung by Jael (Lee Kedem). A few numbers later, we meet Hunter (Mitchell Mosley) and Sam (Chloe McLean), who are drifting apart after years together.
Austyn (Alex Fish), Alex (Jessie Kranz), and River (Lila Prince) round out the eight named principal characters, and all eight performers are excellent. The vocals are the real stars and the strongest point in In Pieces. Most numbers focus on one or two principals; however, the production truly soars with the help of its powerful ensemble (Ashlen Boresow, Langley Hayman, Tessa Irish-Minewiser, James Wong, Brynoch Rammell, and Guy Yarkoni). They are essential to the production, filling emotional moments with beautiful, swelling harmonies and striking choreographed movement from Eric Sciotto and assistant choreographer Lauren Crutcher.
It’s worth noting how well the cast navigates the development of each character. Music provides the roadmap, and the performances bring it all home. Characters move in and out of sync, drift apart, and maintain ties to past lovers. Queer relationships are rendered thoughtfully and visibly, and are presented without unnecessary fanfare. Singling out numbers/actors for recognition risks telegraphing some of the show’s best moves, but each performer has several well-deserved opportunities to shine. Standout moments in a sea of standouts include Kaufman’s charming portrayal of a soon-to-be-former-introvert in “Me and Mr. Popularity;” Peasley’s aching, furious vulnerability in “This Is Not Me;” McLean, Prince, Kranz, and the Company’s delivery of “girl-group”-style breakup banger “Like You Don’t Miss Me;” Kranz and Company in the searing, heartfelt “Singin’ the Same Line;” Kedem’s gently mournful rendition of “Another New York Love Story;” Prince’s unadorned, effortless tour de force performance of “With Him;” McLean and Mosely’s utterly charming, slyly comedic take on “I Could Fall;” and Fish’s soaring vocals over the Company’s lush harmonies on the title track “In Pieces.”
The strong cast is supported by equally strong design choices. The set (designed by Abish Noble) uses perspective tricks to make the audience feel like they are looking up at the New York skyline from the street. Initially masquerading as monochromatic, it comes to life with a dazzling rainbow of colors beaming in from the windows of the skyscrapers, courtesy of lighting designer Nickolaus Bellendir. The costumes, designed by Brenda Van der Wiel, also guide us through the show, with pops of color alerting us to each song’s protagonist. For viewers with keen eyes and ears, the details crafted by sound designer Lilly Stone and prop designer Arika Schockmel serve to immerse the audience in the locations implied by each song.
In Pieces is definitely a bright end to the first half of U Theatre’s 22/23 season. It’s not all moonlight and roses: this musical occasionally treads into challenging territory, with characters navigating abusive relationships or experiencing internal conflict with queer identities. But while the show’s content lends itself to an older audience, these powerful, universal stories of love can be enjoyed by all.
University of Utah Department of Theatre presents In Pieces: A New Musical, Book, Music, and Lyrics by Joey Contreras. Produced by special arrangement with Joey Contreras.
November 11 – 20, 2022, Nov 17-20 7:30 PM. Nov 19-20 matinee 2:30 PM
Babcock Theatre, Pioneer Memorial Theatre, 300 1400 E, Salt Lake City, UT 84112
Tickets: $17.50 Full Price, $12.50 U of U faculty and staff with valid ID, $12.50 seniors age 60 and over, Free for U of U students with a valid U card, $7.50 all other students with a valid student ID, FREE for high school students with valid ID, call for group discounts for parties of 20 or more.
Contact: 801-585-3816
University of Utah Department of Theatre Facebook Page
In Pieces contains depictions of drug/alcohol use, references to sex, some suggestive choreography, and mild profanity (including one use of the “F” word). If it were a movie, it would be rated PG-13.
Approximate runtime: 85 minutes with no intermission
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