The best character development was portrayed by actor Rex Kocherhans, who played Angus Tuck. Kerr was an interesting old carnival man, with his gruff, conniving voice and raspy cough that made him the easy-to-spot villain.Ībigail Scott as Winnie Foster. I felt that had Nicoll played a character with more opportunities to sing, he would have been the star of the show. Nicoll had an amazing solo in the second act of Tuck Everlasting that was reminiscent of Ben Platt. Nicoll was excellent at portraying the older brother: consistently firm, yet loving, with a wonderful vocal range. Two memorable performers were Cleveland McKay Nicoll, who played Miles Tuck, and Stephen Kerr, who played the Man in the Yellow Suit. For instance, while sitting with Angus in the drifting rowboat, they realistically discussed the many opportunities and challenges of life. Although around 16 years old, Scott’s acting abilities were well beyond her years, and she showed great emotion throughout the story of the play. He made me feel as though we were all a part of that moment with him and Winnie. When joined by Scott out in the woods, Jesse was able to become a friend - not just for Winnie, but for the audience, too. Suman had an amazing singing voice that harmonized fabulously with the rest of the cast. Suman did a great job in portraying a happy-go-lucky 17-year-old who didn’t quite understand the implications of his family’s eternal secret. Jesse Tuck (played by Dallin Suman) was the poster child for 1800s boyhood. This small detail that could have easily been overlooked, but enhanced the feeling of a scene taking place out in nature.Ībigail Scott as Winnie Foster and Dallin Suman as Jesse Tuck. The was also a well-planned effect in which the fireflies that danced on the ceiling and around the theater. There were changes in color that clearly displayed different times of day or represented the emotions the actors expressed onstage. Swenson’s lighting design had other memorable moments throughout the play. The boat then began to drift carelessly across this lake, most likely moved about by the famous, rotating circular piece at the center of the stage. As the fog filled the floor of the stage, the lights (designed by Cody Swenson) made it appear as though there truly was water filling the room. Angus took the little girl fishing on a picturesque rowboat that floated on a “lake” covered in fog. The highlight of the cast’s use of the set was a tender moment shared between Winnie and Angus Tuck. Its branches moved to the perfect spot so performers could climb across them and hide behind the leaves that were lowered and raised throughout the show. One important aspect of the set was the tree at the back of the stage, which provided a backdrop to multiple scenes, but was also an integral part of the musical. The set design by Cole McClure (who was also in charge of sound design and costumes) was brilliant in addressing a variety of scenes throughout the play. This being said, Morgan showed his versatility by including small children in the cast and allowing them to play key roles in the production. Most of the actors faced forward or towards stage right, making the actors’ emotions and facial expressions difficult to decipher. Unfortunately, these movements excluded a good part of the audience on stage left. Morgan made good use of the small space by having actors run up and down the stairs, next to the audience, or even climb trees at the front of the stage. Directed by David Morgan, this musical adaptation of Natalie Babbit‘s classic novel (with a script by Claudia Shear and Tim Federle, music by Chris Miller, and lyrics by Nathan Tysen) was mounted at Hale Center Theatre Orem.
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