By Ashlei Havili Thomas
Utah Valley University’s production of Lucky Stiff in Orem, Utah, is an uproarious blast to the past. Presented in the black box Bastian Theater, the musical production pulls elements from classic video games such as Tetris and Pac-Man, combined with stunning visual effects and an outstanding ensemble cast. Lucky Stiff is a farcical comedy from Lynn Ahrens and Stephen Flaherty, based on the 1983 book The Man Who Broke the Bank at Monte Carlo by Michael Butterworth. Though it has never had a Broadway run, Lucky Stiff will keep you on the edge of your seat with a murder, taxidermy, ophthalmological mishaps, and a six-million-dollar inheritance on the line. Enjoy UVU’s Lucky Stiff and be transported to the glitz and glam of the French Riviera in the 1980’s.
Lucky Stiff opens with English shoe salesman Henry Witherspoon (KC Johnson) bemoaning the banality of his life: a nosy landlady and her pack of canine terrors, a small flat and—of course—shoes. Everything changes when he receives a summons to the reading of his (previously unknown) American Uncle Anthony’s will. To become the sole inheritor of six million dollars, Henry has to take his uncle’s taxidermized body on a vacation to Monte Carlo. The will leaves extremely detailed and specific instructions, which if not obeyed exactly will instead leave the inheritance to his uncle’s favorite charity, the Universal Dog Home of Brooklyn. Henry decides to take his uncle to Monte Carlo, where chaos and hilarity ensue. The dog home sends a woman named Annabel Glick to follow Henry, making sure he is following the will to the letter. The woman who killed Henry’s uncle (his almost blind girlfriend Rita) is also in Monte Carlo, trying to retrieve the six million dollars, which she and Anthony embezzled from her husband. Who will end up with the money? Will someone else end up dead? The audience is left in stitches as absurdity ensues, making for a ridiculous night of fun.
Johnson as Henry Witherspoon is the perfect combination of piteous, anxiety-ridden and stubborn. It’s impossible not to fall in love with Johnson’s character as he perseveres through his uncle’s insane last wishes. In addition to his wonderful character work, Johnson’s vocals and consistent accent are a refreshingly constant baseline for the over-the-top production. Keely Conrad (Annabel Glick) is a powerhouse. Conrad’s amazing vocal talents go perfectly with the hard-edged New York veneer of Miss Glick, covering a softness and grace not easily shown. While Conrad can easily command the stage alone as seen in “Times Like This,” Conrad and Johnson’s combined talents in “Nice” pull the audience in with a well-executed hate-to-love trope.
While Johnson and Conrad hold much of the audience’s attention, this show has phenomenal supporting actors and a show-stopping ensemble. Carson Lawrence and Kalena Nielson as brother and sister duo Vinnie DiRuzzio and Rita LaPorta give high energy performancse that leaves the audience no choice but to laugh at their increasingly unhinged antics. Bronwyn Andreoli (Dominique du Monaco) and Casey Copier (Emcee) provide delightful entertainment in “Speaking French.” Their over-the-top performance was seen by this reviewer being replayed by several audience members as they left the theater. Steven Harrison as Luigi and Skylar Boyd as the Dead Body of Anthony Henderson constantly surprise with their sometimes small but golden nuggets of comedy. Without spoiling the ending, Harrison’s character adds a level of mystery and shadiness to the already macabre affair that constantly astonishes the audience with new shifts in the plot. It may seem like playing a dead body would be easy or boring. Boyd does a wonderful job adding juicy tidbits of humor simply with his physicality in the wheelchair.
With several interweaving storylines, it would be impossible to pull this production off without a stellar ensemble (Alessandro Falabella, Alex Russon, Braden Clement, Elise Jones, Jocelyn Kleinman, Preston Ochsenhirt, Sophie Mercer, Yulissa Torres, with Autumn Bickmore and Grace Bowman as swings). Their multitude of characters provide a wonderful and chaotic backdrop for the hilarity happening center stage. They are the cherry on top of this once-in-a-lifetime cast, creating depth and heightened pandemonium that rounds out this already beautiful cast.
Directed by Julie Heaton, Lucky Stiff moves and sings and flashes. There show zips along and each detail is perfect. Music Director Amanda Crabb leads the cast to hilarious heights. Choreographer Jennifer Delac‘s work shines in Lucky Stiff, the dance numbers are wonderful. Music Conductor Mark Johnson brings his singers to the audience with clear notes and lovely harmonizing. Scenic Design by Milinda Weeks transports us to Monte Carlo + pizzazz and panache. Madison Halverstadt‘s Costume Design is divine–the colors, the fabrics, the richness. Just beautiful. Lighting Design by Collin Schmierer transports us with color, tone, brightness. Sound Design by Devon Parikh is spot on. No glitches and fantastic sound. Makeup, Hair, & Wig Design by Lillian Hanks, Prop Design by Cortnee Quist, Dialect Coach Steven Rimke, and Dramaturg Anne Post Fife round out a production team that makes Lucky Stiff soar.
Lucky Stiff is truly a hilarious delight. As with all UVU theater productions, the top notch quality is only surpassed by the fun you’ll have watching this wonderful comedy. It plays this week only, so grab some tickets and prepare to be entertained.
Utah Valley Theatre presents Lucky Stiff, Book and Lyrics by Lynn Ahrens, Music by Stephen Flaherty.
Based on The Man Who Broke the Bank at the Monte Carlo By Michael Butterworth.
The Noorda Center for the Performing Arts, Bastian Black Box Theatre, UVU Campus, 800 W University Pkwy, Orem, UT 84058
April 18-22, 2023 7:30 PM
Tickets: $15
Contact: 801-863-7529, artstickets@uvu.edu
Utah Valley University School of the Arts Facebook Page
Recommended for ages 6 and older.
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