Review by Cynthia Terry, Front Row Reviewers
The auditorium of Salem Hills High fills with stomping feet, soaring voices, and the crackle of determination as Payson Community Theater’s Newsies storms the stage. This is no quiet night at the theater. It is a full-throated declaration that courage grows strongest when people stand together.
The lobby welcomes guests with friendly greetings and displays facts about the real 1899 strike in New York. As people settle into the auditorium, familiar piano music drifts through the space, creating a warm backdrop for conversation. Onstage, a striking projection stretches across the scrim with the title Newsies blazing like a headline on an old film reel, and in that moment it feels as if the audience has already stepped into the world of New York’s newsboys preparing to rise up against those who see them as nothing more than a way to make money.
At its core, Newsies is about belonging, and this cast captures that beautifully. Jack Kelly, played by Andrew Cook, begins as a dreamer, desperate to escape the harsh streets of New York, but his longing for freedom gradually transforms into the deeper calling of community and leadership. Cook delivers a performance of striking intensity and vulnerability, especially while reeling in anguish after his best friend gets taken and beaten. I felt every bit of his longing for justice as though I was right there with him, mourning my own oppressions. What makes Cook’s portrayal remarkable is how he carries Jack through that darkness into strength, transforming defeat into resolve with powerhouse vocals full of grit and heart.
That shift in Jack becomes even stronger when he crosses paths with Katherine, brought to life by Sheridan Hansen, a young reporter underestimated at first but determined to prove her worth. Hansen bursts onto the stage with sharp wit and natural confidence, yet reveals the anxiety beneath as she fights to be taken seriously in a world where women aren’t used to having a voice. She captures this balance with nuanced acting, especially while writing her first big story on the Newsies strike. Her expressive singing builds Katherine into a character who may appear sweet and charming at first glance, but who carries a strength and determination that grows more undeniable with every scene.
Together, Cook and Hansen rally the troops in unity, giving voices to those who once felt powerless. Their leadership is strengthened by Davey, played by Benjamin Ewell, who steps into the strike with steady resolve. Ewell blends confidence with restraint, moving through demanding choreography with ease while keeping his character intact. His presence grounds the story and shows that strength can be steady and quiet as well as bold. Side by side with Jack, Davey feels like the anchor the dreamer Jack has been searching for.
And then there is Les. Among the youngest cast members, Bennett Claybaugh (Les) should be hauled off by the comical, wheezing policeman because he flat-out steals the show, and is running wild with it. It’s not just his spunk and adorable accent that demand attention. It’s the confident way he plays with the audience, shouting a line with a bucket full of sass and then pausing to smirk knowingly into the audience as though saying, “Yep, I’m cute and I know it.” And it works. Every time he spoke, the women around me let out a collective “aw,” completely won over by his personality. B. Claybaugh’s performance is electric, striking the stage with more presence and enthusiasm than a blaring brass band.
Among the intensely talented cast, Trevor Brackney wins my highest praise by using creative freedoms to revamp the villainous Pulitzer in a way I have never witnessed before. Brackney doesn’t see himself as a stock antagonist. He effectively portrays a determined man who had to claw his way up from nothing and now refuses to let anyone threaten what he’s built, even if that means going to war with a bunch of children. What seals my fascination with his character is Brackney’s ability to draw us in with unexpected flashes of humor and obvious professionalism in dancing techniques. Two steps into a dance routine and suddenly this greedy mogul feels oddly cool, almost charming, which makes his eventual concession to the kids both believable and satisfying. Brackney’s choice proves that a villain doesn’t need to be broken to be fascinating; he can be intelligent, stylish, and dangerously human. Brackney’s layered take on Pulitzer is unforgettable, but what makes this production soar is how every role, big or small, is filled with personality and care.
Tyler Dimmick (Crutchie) wins hearts with quiet resilience, his subtle smile always tinged with sorrow. When he delivers “Letter from the Refuge,” the theater falls still, making it one of the most moving moments of the night.
Alexa Back (Race) lights up “King of New York” with crisp tapping and a mischievous spark that carries straight into her acting. She brings humor to the role with quick timing and a playful edge, the kind of energy that keeps the strike feeling bold and fun. Her vocal performance is powerful, yet endearing.
Adding a different kind of flare, Katy Trent (Medda Larkin) fills the theater with warmth and wit, her powerful belt shaking the rafters as she playfully breaks the fourth wall, singing directly to audience members. The Bowery Beauties match her charisma, strutting with a smoldering personality that turns Medda’s scenes into a lively burst of spectacle.
The darker side of the story also gets its due. Todd Claybaugh (Snyder) enters with a mix of humor and menace, reminding the audience that the Refuge is no place for laughter, while Michael Denton (Wiesel) plays his petty authority with just the right amount of bluster. Together with Jerry Black and Ben Brown (the Delancey brothers), who lean gleefully into their cruelty, the antagonists give the strike its teeth.
And yet even the authority figures can’t help but entertain, especially when Joshua Nielsen (Roosevelt) strides in with big personality and unshakable confidence, delivering his lines with the kind of punch that makes the audience belly laugh while he levels the playing field.
I genuinely wish I could give a shoutout to every member of this cast, because each one deserves to be on the front page of the newspaper. From Pulitzer’s office staff to the policemen, from the newsboys, to the news girls, every performer earns cheers for bringing such life to the stage. This is a massive cast, and what impresses me most is how each solo, each line and movement is delivered with care and personality. Still, a couple of smaller roles left an outsized impression. Liam Bartholomew (Bill) beams with such unshakable joy that his smile alone pulls my focus. He radiates happiness so strongly it lights up every corner of the stage. And Isabella Beecher, tucked into the ensemble of newsies, shines with the kind of expressive energy that can’t be taught. Even in the most complex tap sequences, her energetic presence never wavers, making her one of the easiest performers to spot and celebrate.
But it is the choreography and music together that make this production soar. Emma Black‘s choreography, with assistance from Dakota Beckstrand, gives the cast crisp synchronization, sharp stomps, and acrobatic energy that shake the auditorium. High kicks slice the air, leaps and flips ignite cheers, and the sheer precision of the movement makes every number a spectacle. The stage itself feels too small for this much power, making the dancers leap off the edge and spill into the aisles, turning the rallying cry of revolution toward every audience member.
Under the direction of Jeremy Showgren, the music rises to meet that same intensity. Numbers often begin in tight unison, then expand as crescendos split into harmonies, each layer building on the last until the sound overwhelms the soul. Shouts of conviction cut through the swell, giving chills, while ensemble anthems like “Once and for All” surge into a wall of voices so strong it feels as if the strike itself has taken over our own hearts. In those moments, choreography and music merge into one unstoppable force that leaves us united in a roar of hope.
At the heart of Newsies is the message that voices matter, no matter how small they may seem, and Jeremy Showgren’s direction makes that message impossible to miss. Leading a cast of this size is no small feat, but every performer from the leads to the youngest ensemble members, feels seen and important. The stage rarely stands still, yet the movement never feels chaotic because it’s alive, like the heartbeat of the strike itself. Showgren leans into the show’s themes of unity and resilience, weaving humor, energy, and heart into a story that could have been told as just another fight against injustice. Instead, he makes it a story about belonging, finding strength in each other, and about realizing that even the smallest voice can spark change.
Behind the cast stands a creative team that deserves high praise. Perry Ewell’s set design pairs an old iron balcony railing with a massive backdrop that moves like a movie screen. RaeLe Carlson’s projections transform that screen into rolling headlines and shifting scenes, so every transition feels like being carried deeper into New York’s streets. Whenever the story turns to the press, the words themselves come alive across the projection, making the audience part of the revolution.
Audrey Nelson’s lighting is a show in itself. Lanterns glow against the newspaper backdrop in silhouette, casting a striking image as the newsies prepare to rise. Red washes build intensity and urgency in moments of conflict, while glowing transitions soften into hope and triumph. These choices heighten the emotion of each scene and make the strike’s shifting stakes impossible to miss. Eric Scheffer’s sound keeps ensemble numbers balanced and solos clear.
The attention to each eye-catching detail is obvious, especially in the costumes by Kristina Holley, bringing period flavor without sacrificing movement for the demanding choreography. Hannah Anderson’s hair and makeup add polish and personality to every character. From the smallest prop to the largest transition, the crew keeps the production running seamlessly.
While this story is family-friendly at its core, it does include a few mild adult words and more serious themes. Younger children may not fully connect with the labor strike storyline, but older kids, teens, and adults will find it both engaging and inspiring. Parents can bring the whole family, but those old enough to wrestle with questions of courage, justice, and finding your voice will get the most out of it.
At its heart, Newsies is about the power of raising your voice together, and this production makes that message hit harder than ever. In a world where so many feel silenced by overwhelming challenges—whether political, social, or personal—it reminds us that unity gives strength. We can’t let fear keep us quiet. We need the courage to stand shoulder to shoulder, to face our fears, and to demand a better future. Payson Community Theatre delivers that spirit with authenticity and fire, sending its audience home not only entertained but inspired to remember that real change is possible when we rise together.Payson Community Theatre presents Newsies by Alan Menken (music), Jack Feldman (lyrics), and Harvey Fierstein (book), based on the Disney movie, Newsies.
Salem Hills High School, 150 Skyhawk Blvd, Salem, UT 84653
August 21-23, 25, 28–30 7:30 PM | September 1, 205 3:00 PM
Tickets: $10–12
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