Review by Cynthia Terry, Front Row Reviewers
Angelus Theatre in Spanish Fork presents The Thief and the Lady, an original work by Elizabeth Adams that invites audiences into the cobblestone streets and shadowed corners of Victorian London. With the warmth and whimsy of Mary Poppins and the intensity of Oliver Twist, this story blends heart, humor, and high stakes into a uniquely captivating theatrical experience.
From the moment the house lights dim, the audience is transported. A beautifully hand-painted set, anchored by a grand chandelier glowing softly overhead, establishes a refined yet inviting world. Gentle instrumental music floats through the air as quiet chatter hums with anticipation. The attention to detail creates a warm, immersive atmosphere that sets the stage for a truly charming evening.
This story pulls us in from the beginning, playing with our empathy as we meet Billy Cobbs, played by Landon Christensen. From his earliest moments on stage, it’s clear that even though Billy may be a thief, he has a heart of gold. Trapped by the weight of his past, he teeters between freedom, love, and danger. Christensen’s layered performance raises the stakes as Billy begins to stumble over his own con. What starts as a disguise soon awakens real emotions of affection and caretaking, forcing him to question who he truly is. His vulnerable portrayal of a broken man seeking redemption gives hope that we can escape our past and become something more.
Christensen is paired expertly with Jenna Snow (Claire), who gives a standout performance by displaying her emotions openly, especially in scenes where her faith in Billy wavers. Fierce yet wounded, she delivers a scene-stealing slap that lands like a jolt of righteous frustration, perfectly timed and genuinely surprising. Her quiet moments of reflection are just as powerful as her outbursts, revealing a character full of spirit and depth. Her chemistry with Christensen crackles with tension, their connection becoming the emotional core of the production and grounding the story in something real and deeply human.
Rochelle Rackcliffe as Lady Hathaway walks a delicate line: noble and composed, yet unmistakably grieving. Her performance captures the quiet strength of a mother doing everything she can to hold her family together. Every line she delivers carries the weight of love and duty, colored by unspoken sorrow. Rackcliffe’s portrayal resonated with me personally. I’ve been that single mother, juggling life and quietly fearing I was failing. Seeing that kind of dignity and resilience portrayed onstage was not just moving. It was empowering—a reminder that grace under pressure is still grace.
Steven Wing valiantly steps into the protective role of Neville Mills, offering stability where tragedy has left uncertainty. I especially appreciated his transition from friend to fiancé and father figure. Wing invites the audience to join him in finding his place within this evolving family. How can he support the woman he loves while navigating the high emotions of children still reeling from loss? His performance never overreaches. Instead, it lets us witness a man quietly trying to build something meaningful in the wake of heartache.
Let’s be honest: the youth actors steal the show, hands down. Every young performer on stage not only holds their own but brings maturity, nuance, and charisma to the performance, including youth performers Lilee Stevenson and Benson Rackcliffe. In addition, the four siblings, in particular, radiate believable chemistry and bring genuine warmth to the production.
I brought my eleven-year-old son to this performance, and he deeply connected with Jeffery, the big brother, played by the incredibly gifted Oliver Miramontes. Caught between childhood and responsibility, Miramontes delivers a heart-wrenching performance, capturing the heavy burden Jeffery feels while stepping into his father’s shoes. As the new man of the house, he shoulders the emotional weight of caring for his younger siblings while navigating grief, bullying, and danger.
Eden Miramontes (Catherine) stands out with crisp diction and confident delivery, never missing a beat. Whether sparring with her siblings or digging into more emotional moments, her performance feels natural and grounded. There’s boldness in her vocal tone and fire in her expressions, especially during arguments, that brings Catherine to life in a way that’s both entertaining and authentic.
Lucy Hutchings (Tillie) brings spark and bite to the stage with impeccable timing and a streak of dark humor that feels delightfully unexpected, especially for her young age. Her banister stunt earns audible gasps, but it’s her fully committed performance, marked by spunk, mischief, and emotional presence, that keeps the audience engaged. Her memorization and physicality give her the freedom to perform with confidence and authenticity in every scene.
Carl Hutchings (George) is the kind of comedic force that gives the show its pulse of joy. With huggable energy and sensitivity, he wins the heart of every audience member. He delivers each line with clarity and charm. His playful instincts feel totally in-the-moment, adding a layer of innocence and humor that rounds out the sibling dynamic beautifully.
The hilarious character of Mrs. Brumble is double cast, and I had the pleasure of seeing Kelli Stevenson’s portrayal of the bubbly maid. She brings just the right blend of cheer and well-meaning pushiness, becoming the kind of friend every family needs in a crisis. Her accent and comedic timing keep the laughs coming, even when she’s muttering nonsense after being knocked out. I’m confident the role is in equally good hands on the evenings when Moira McLean takes the stage, as her energy and commitment stood out even in ensemble roles. Every time McLean appears, she brings life and intention to her performance, which speaks volumes about what she’ll bring to Brumble.
Working alongside her in the household is Garion Jorgensen as the ever-loyal butler, Jonathan. Even during transitions, he never drops character, such as when he’s tasked with removing the rug for a quick scene change. Despite the stage being drenched in darkness, he moves with perfect silhouetted posture, muttering under his breath with the quiet exasperation he saves for when the family isn’t looking. His consistent physicality and attention to detail make him a joy to watch. Jorgensen brings a calm, grounding presence to the stage, embodying safety and stability within the household, even when mayhem erupts.
Greg Stevenson (Henry McTavish), the sharply dressed leader of mayhem, makes his presence known early in the show. Cloaked in tailored coats and gleaming pocket watch chains, he cuts the figure of a gentleman at first glance. But that polished exterior quickly unravels. G. Stevenson delivers a performance full of volatility, shifting from soft-spoken civility to loud, thunderous outbursts in an instant. This dynamic range keeps the audience on edge and makes the character feel deeply unhinged beneath his refined appearance. From the moment he enters a scene, it’s clear that trouble has arrived. G. Stevenson’s commanding presence draws all attention to him, and his explosive energy shapes the rhythm of every moment he touches. He doesn’t just play the villain—he drives the storm.
Ron Millett (Dorian/Octavius) brings some of the biggest thrills in the second act, already onstage mid-squat as the lights come up on his scene. His exaggerated exercising and oblivious commitment to staying fit had me laughing before he even spoke a word. Millett leans fully into the physical comedy, making his character one of the most memorable additions to the show.
That offbeat energy pairs hilariously with Josh Martin (Eddie/Policeman), who brings his own brand of unpredictable chaos. With a thick mustache and exaggerated accent, my son immediately called him “Luigi”—and honestly, it kind of fits. Martin strikes a wild balance between silly and menacing, creating a cartoonish villain who somehow still feels like a real threat, especially when the guns come out.
This production not only boasts an incredibly talented cast, it’s also technically impressive. The stunning set, designed by Jorgensen and his team, creates a fully immersive world—from antique portraits to finely crafted woodwork. The grand staircase and two visible upstairs rooms add depth and visibility, allowing the action to flow across multiple levels without ever losing the audience. Every painted backdrop and prop is packed with detail, clearly the result of hours of thoughtful work. It’s a beautiful, lived-in space that supports the story at every turn.
Jorgensen can also be thanked for the brilliant fight choreography, which truly shines in the climactic final battle. Even the children get involved, adding grit and realism to the action. The use of swords, staged gunfire, and layered choreography bring an intensity that feels bold and cinematic, especially for a community production. One standout moment comes when Billy Cobbs is thrown down the stairs—a stunt so clean and convincing, I couldn’t believe I was seeing it in a local show. The sequence is thrilling, believable, and packed with theatrical tension, raising the stakes at exactly the right moment.
Krista Johannesmeyer, who pulls triple duty as director, costumer, and assistant set designer, brings a clear and unified vision to this production. Her direction is confident and thoughtful, with blocking that keeps the action moving naturally and ensures the audience always knows where to look. Every scene feels alive, yet never forced. The costuming is equally impressive. Bustles, hoop skirts, and tailored Victorian garments reflect the time period while deepening the atmosphere and enriching the visual storytelling. With so many major roles behind the scenes, Johannesmeyer carries a massive load, and she delivers on every front. Her leadership shapes a production that doesn’t just entertain, it leaves a permanent impression.
The technical design in this production is both practical and immersive. Justin Stockett‘s lighting enhances the story with smooth, well-timed shifts that guide the audience’s focus without distraction. I especially loved how the light moved cleanly from room to room during multi-level scenes, keeping the action visible and fluid. Clarissa Walker and Ryan Briscoe deliver layered sound design, blending storm effects, ambient noise, and musical transitions that deepen the atmosphere and emotional tone. Together, the lighting and sound heighten the drama, sharpen the pacing, and draw the audience deeper into every moment.
This story is deeply moving because it shines a light on the imperfections of humanity and the beautiful gift of redemption. It challenges us to look for the good in people, even when they’re struggling, and reminds us that broken families are still families—still powerful, still capable of healing.
I’m especially grateful I had the chance to bring my son to this production. We come from a slightly broken family ourselves, and he often wrestles with big questions about who he is—whether he’s the good guy or if he’s made too many mistakes to be one. Watching the kids onstage make mistakes and still fight for what matters really connected with him. He told me it was one of his favorite plays he’s ever seen. Sharing this play together was no accident. It was one of those rare, perfect moments. It’s one we’ll both hold onto forever.
I’d say this show is excellent for families. While there are a few brief moments of violence and intensity, they’re balanced by beautiful scenes that even children can genuinely relate to. It offers meaningful messages, heartfelt drama, moments of humor, and even a bit of action, all without strong language or anything possibly objectionable. If you’re looking for something that entertains the whole family and leaves you with something to reflect on, I highly recommend taking an evening to get lost in The Thief and the Lady’s heartfelt story.
The Thief and the Lady is a delightful and dynamic production that proves original theater is alive and well in Utah County. Whether you’re a fan of heartwarming stories, well-crafted comedy, or watching talented young actors shine, this show offers something for everyone.Angelus Theatre presents The Thief and the Lady by Elizabeth Adams.
Angelus Theatre, 165 N Main, Spanish Fork, UT 84660
August 14–25, 2025 at 7:30 PM
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