Dog Sees God Review – Front Row Reviewers Utah

“Funny. We’re warned from the beginning it’s adult language. That’s true. And we will see adult situations. That’s true, too. But In Dog Sees God, these are kids onstage. Well, adult actors playing kids. To all of us who’ve grown into adulthood ourselves, wasn’t our first cruelty at their hands? Dog Sees God is a riff on the beloved Peanuts cartoon strip. Seeing how the characters turned out as teenagers (in this version) squeezes the heart a little. Yes, there are many laugh out loud moments, but the poignancy comes right up behind.” – Joel Applegate

Kate Rufener on directing COMPANY

We asked the very busy, Kate Rufener, director of COMPANY a Musical Comedy, a few questions about her experience directing.

Kate, tell us about the story of COMPANY and how it’s being told through your vision?

The story of COMPANY is really the story of anyone who’s ever been single, felt like the third wheel, or worried they aren’t ‘doing enough’ to get into a relationship. The character Bobby, who is single, represents anyone who has ever felt that way. He struggles to understand his place in his group of friends and in his own life.

What is the key thing for you in telling the story?

We, as a cast, are drawing out several elements and highlighting some sticky relationship issues – things like competition between spouses, fear of really committing, and facing failure in relationships. We have some subtle staging elements we’re playing up to ensure the story is told in the most humorous and engaging way possible.

Anything special you want the world to know about this show/cast/story?

Sondheim (music) and Furth (book) make it easy to play many levels. The key thing about this piece is that if you’re a fan of Sondheim, you’ll love the depth of this particular show. And if you’re not a fan, and maybe you’ve never heard of Sondheim, this is still a funny, wonderful, and thought-provoking piece that’ll entertain you.

What’s your favorite thing about this project?

Wow, only one favorite? I could rave about the talent of the cast for hours, surely they’re the favorite. Or I could go on and on about our Music Director (Anne Puzey), who makes it look easy to teach Sondheim music. Surely, it’s her? Or maybe it’s the incredibly-performed moment at the end of the show with the song, ‘Being Alive’, which has long been one of my favorites. I can’t pick one – come see the show and pick one for me?

COMPANY a Musical Comedy with music and lyrics by Stephen Sondheim and book by George Furth is licensed through Music Theatre International, and will be performed at the new Sugar Space Arts Warehouse in Downtown Salt Lake City Utah.

Michele Rideout (Ivy Weston): “The play feels awful familiar”

I first read “August: Osage County” two years ago, and I immediately wanted to do it. It feels very much like a classic, a slice of literary Americana, if you will. A part of me wants to say that my own family is nowhere near as dysfunctional as this one, but that wouldn’t be true. The truth is, the play feels awful familiar, even if not on so grand a scale, and that draw to the story is there. I think Utah audiences are ready for this story, with all its beautifully, tragic, broken bits of the unfulfilled promise that is the American Dream.

Ivy Weston is the middle daughter of Beverly and Violet, neither of which will be winning Parent-of-the-Year anytime soon. At 44 years old, this quiet, college-educated woman remains unmarried, and as far as the world knows, unattached. She has been left with the sole responsibility of caring for her father, a quiet alcoholic, and her mother, addicted to a variety of pills, and with a tongue that could flay open even the toughest of skin.

Ivy’s sisters, Barbara — a few years older, married with a teenage daughter — and Karen — younger and less grounded — have both long ago moved away from small-town Pawhuska to pursue bigger and better things in Anywhere But These GD Plains, USA. Ivy struggles with not begrudging them their freedom, their escape, but it’s been very hard on her to be left as the sole care-giver to their toxic parents. I don’t think Ivy’s reasons for staying close to home rather than leaving are all that complex; I think like a lot of us, she’s simply allowed herself to unwittingly fall into the trap of familial loyalty — not so much a loyalty to each other as family members who love one another, but a loyalty to the roles that life casts us in; and her case, it’s as the long-suffering daughter in a highly dysfunctional family.

Ivy has long played this part of the devoted daughter, managing to ever and always exude a calm and patient exterior, but this exterior, is a facade that perfectly conceals her true nature: a very passionate woman who longs for something more; a woman with a secret. Some very key, and life-changing things happen to Ivy in the two years prior to when the action in this play begins, and she’s begun to grow cynical, but remains ever hopeful. A seemingly strange combination on the surface, but I can really relate to that aspect of Ivy on a personal level. It’s difficult, but she tries very hard to fight feeling bitterness over he lot in life. At being “stuck.”

The dynamics of the relationship Violet and Ivy share are also very interesting to me. On the surface they seem so different. For example Violet cares very much about appearances; Ivy however, not so much. Violet is verbose, and loudly opinionated; Ivy is the exact opposite. But when we dig deeper, and go below the surface of the soil this relationship is planted in, we find striking similarities.

At one point, Ivy tells her sisters that their relationship is a matter of genetic circumstance, and that the idea of “family” is a myth — nothing more. But when you look at certain traits, shared by Ivy and Violet, when you look at the moments where love and compassion is clearly present, you get the sense that playwright Tracy Letts is trying to tell us something very pointed about familial bonds.

Violet says at the end of the play that Ivy is not strong like herself, and Barbara, but again as we look at Ivy and her actions, we see that is wrong. She is strong in a way very much like Violet. Even the character names, Violet and Ivy, are a hint at a deeper connection between this mother/daughter duo.

Even before her father’s passing, Ivy’s begun to consider that life could be different, but with her father, Beverly, hiring a woman to care for Violet and the home before his suicide, it seems like a kind of subconscious permission slip, and she begins to truly believe that a different life is actually possible for her; that she can escape her miserable existence, and in a different place she can be a different person, with the man she loves by her side. She’s fighting for that. A different life.

Michele has appeared locally in “Six Degrees of Separation,” “33 Variations,” and “Steel Magnolias.” She has been actively involved in local theater for over a decade and has worked in several capacities, including not only acting, designing, and directing, but she also served as the executive producer for a local community theater before stepping down to found Silver Summit Theatre Company. She is the artistic director and acting chair for SSTC. Other interests include film, writing, LOLCats, finger painting, and wasting time on the Internet.