Cache Magazine

The Herald Journal July 15-21, 2011

MagazineCache Cache

Magazine

On stage at Ellen EcclesRead reviews of this summer’s Utah Festival Opera productions

Seven in the morning has never been my favorite time of day. I hate my alarm clock and

I’m always long-ing for a few more hours of sleep. But on vacation, it’s a completely differ-ent story. At 7 a.m. three weeks ago I was running around Universal Studios in Florida with two friends. We were snapping pictures of a castle, a train and the restaurant “Three Broomsticks.”

My friends and I had ventured to “The Wizarding World of Harry Pot-ter” where all day long we talked of wizards and wands, Bertie Botts and Butterbeer, hippogriffs and Hermione. Let’s face it, I’m a nerd.

In preparation for the trip I imag-ined sending postcards from the theme

park’s Owl Post, eating chocolate frogs and making a purchase at Ollivander’s — which I did.

And it’s a good thing too, because now that I have an official Harry Pot-ter wand (yes, I do believe it has a Phoenix feather as its core), I feel even more prepared for the final film that opened in theaters today. I plan to see it this weekend with the rest of the major Harry Potter mega-nerds.

Cache movie critic Aaron Peck gave the “Harry Potter and the Deathly Hal-lows: Part 2” the highest rating and says it’ll be one of the best action movies of the year (page 7). Many of us have been following the films for the last 10 years, have read the books and are anxious to see how it all comes together on screen for the final battle with Voldemort.

For those of you who are planning to see the film, feel free to say hi to me. I may be dressed as Luna.

— Manette NewboldCache Magazine editor

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Slow Wave

Slow Wave is created from real people’s

dreams as drawn by Jesse Reklaw. Ask

Jesse to draw your dream! Visit

www.slowwave.com to find out how.

Cache From the editor [email protected]

Publicity photo for “South Pacific,” one of the four festival performances put on by Utah Festival Opera and Musical

Theatre this summer.

On the cover:

Magazine

The Herald Journal’s

Arts & EntertainmentCalendar

Cache What’s inside this week

Cute pet photo of the week

This cat is available for adoption!

Pet: PeachesFrom: Four Paws RescueWhy she’s so lovable: Peaches is a 2-year-old, sweet and gentle lap cat. She is very playful, and loves beanie babies and empty boxes. She is very pretty — she looks like an orange parfait! Peach-es lost her home due to allergies. She is looking for an indoor-only, forever, loving home. If you would like to meet Peaches, please call Sheri at 435-787-1751.

Books .......................p.13Crossword ................p.14

New ‘Harry Potter’ gets four stars

Noon Musicschedule

(Page 7)

Read the history ofUtah Shakespeare Festival

(Page 5)(Page 10)

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Slow Wave

All mixed up

The Lower Lights will perform tonight at the Logan High School auditorium at 7 p.m. The group plays familiar

hymns, overlooked hymns, Hank Williams hymns and more. The hope is to help audiences connect with these beautiful old songs of testimony on a deeper level, to have a new and per-sonal experience with them. Drawing equal parts reverence and celebration, the group hopes to help others reconnect and have their own personal experience with these songs.

A night of reverence, hope and celebration

Local actress Keri Hostetler Larsen will speak

July 20 at the historic Cache County Courthouse at 7 p.m. as the Cache Valley Visitors Bureau’s Summer Speaker Series continues.

One of Logan’s most popu-lar actresses, Larsen is a crowd favorite with the Old Lyric Reper-tory Company. This season she plays the scene-stealing role of Miss Skillon in OLRC’s hit, “See How They Run.” She will talk about how she became inter-ested in theater, the challenges of balancing real-life responsi-bilities with artistic fulfillment and some behind-the-scenes

anecdotes from plays she has done. Another performer or two from the Lyric may stop by for a little improvisation.

A California native, Larsen has lived in Logan for almost nine years, and has performed with the OLRC for 11 seasons. Favorite performances at the Lyric include “The Foreigner,”

“You Can’t Take It With You,” and “Enchanted April.”

She holds a Bachelor of Arts degree in theatre arts from California State University-San Bernardino and a Master of Fine Arts degree in acting from California State University-Fullerton.

The presentation is free to the public and held at 7 p.m. at 199 N. Main St. Seating is limited so arrive early. For more infor-mation, call 755-1890 or visit www.visitloganutah.com.

For the love of theaterUSU pianists perform cool, classic soundsUtah State University

presents the annual Cool Classics Concert featuring USU piano performance and pre-college students July 21 and July 22 at 7:30 p.m. in the USU Performance Hall.

“Cool Classics will pro-vide an opportunity for the audience to see a variety of high-caliber students of all ages play some of the most difficult repertoire,” said Luke Hancock, Cool Clas-sics coordinator and the first graduate of USU’s piano performance master’s degree program in the Department of Music. “The music will be educational, memorable and, most of all, entertaining.”

The July 21 concert, “Col-lege Virtuosos,” features current and former students of Gary Amano, Utah State University’s director of piano

studies. Performers include Brandon Lee, Luke Hancock, Adam Nielsen, Mark Gubler and Jeff Detton.

Pre-college students ages 10 to 18 combine forces to perform concerto pieces during the

“Rising Stars” con-cert July 22.

Pieces such as “Rhapsody on a Theme of Paganini” and

“Islamey” will be per-formed at “College Virtuosos.” The works of Beethoven, Gershwin, Mozart, MacDowell and many more will be presented at “Rising Stars.”

“Brandon Lee will perform ‘Islamey,’ which is considered

the hardest piece ever writ-ten,” said Hancock. “Several of us have practiced up to eight hours a day in the past few years to master works like ‘Islamey.’ We want to

perform our best and have

worked hard to do so.”

Admis-sion to each con-cert is free,

and $5 stu-dent piano schol-

arship donations are encouraged after the show.More informa-

tion is available online at the Caine College of the Arts website (arts.usu.edu) or by calling 435-797-8022.

Utah State University’s Museum of Anthropolo-

gy presents special guest Lyle McNeal at its next “Saturdays at the Museum” activity.

McNeal presents “Agricul-tural Impact: The Domestica-tion of Animals” on Saturday, July 16, at 1 p.m.

“Evidence of animal domes-tication is found as early as 10,000 years ago, significantly changing the economy and lifeways of various ancient cultures around the world,” said program coordinator Melissa Allen. “Some areas in the world still rely on small sheep farms for economic and cultural survival. Dr. McNeal has worked with the Navajo and the Churro sheep popula-tion decline and is presently

working with Iraqi sheep rais-ers to help them establish a stronger sheep industry. His work has been vital to the sus-tainability of numerous popu-lations. We are honored to be able to share his experiences with the community.”

During the July 16 event, families are invited to par-ticipate in a craft project throughout the day, creating fluffy sheep from cotton balls. Patrons are also encouraged bring a new rawhide toy that will be donated to the Cache Humane Society.

In addition to McNeal’s lecture, the Museum of Anthropology also features a new exhibit related to his work with Churro sheep. The exhibit highlights tradi-

tional Navajo weaving, a skill passed on to younger genera-tions by women. The exhibit

“Diné: Weaving a Tradition of Strength” opened May 2011 and showcases traditional Navajo weavings on loan by USU alum Michael Morgan. It examines the history and resilience of the Navajo and the Churro sheep through these intricate pieces.

The USU Museum of Anthropology is on the USU campus in the south turret of the historic Old Main build-ing, Room 252. Admission is free.

For more information about this event, call museum staff at (435) 797-7545 or visit the museum website (anthromu-seum.usu.edu).

Learn the history of domestic animals

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1By Barbara Stinson LeeFor Cache Magazine

C EDAR CITY -- Fifty years ago Fred Adams and his fiancee, and now late

wife, Barbara Gaddie, began to see their dream come true. The dream began with the Adamses sitting together in Cedar City’s Fluffy Bundle Laundromat. Fred doodled on a yellow legal pad, and what resulted was the rough draw-ing of William Shakespeare’s Old Globe Theatre, in Eng-land’s Stratford on Avon. The dream was born as Fred told Barbara, “You know, Dear, Cedar City would be the per-fect place to build a theater like Shakespeare’s.”

Barbara was no stranger to Fred’s dreams. They talked about the beautiful setting of the nearby canyons and mountains. They talked about how a theater would begin drawing its audiences from the students at the College of Southern Utah (now Southern Utah State University), and how a quaint theater would draw from the tourists and the nearby states. Founded in 1961, their first theater was portable, its sets and the stage itself put away every night. Ten years later, Fred and Bar-bara Adams and several peo-ple who’d bought into their dream, including Thomas and Luella R. Adams (parents of Mrs.O.C. Tanner) were build-ing what would become the most authentic Shakespearean theater this side of the pond. Their first season included the Bard’s “The Taming of the Shrew,” “Hamlet,” and “The Merchant of Venice.”

They had produced some serious theater before the Adams Memorial Theatre (named in honor of Mrs.Tan-ner’s parents) opened. The theater is the centerpiece of what became the Utah Shake-spearean Festival. In the mid-1970s, the dream expanded to include the Randall L. Jones Theatre, named for Randall

L. Jones, a pioneer of the arts in the area. As committed to classical Shakespeare as the Adams Memorial Theatre has always been, the Randall L. Jones Theatre is dedicated to more modern plays like the works of Arthur Miller, Michael Frayn, and Meredith Wilson.

In 2000, The Utah Shake-spearean Festival was hon-ored with the “Tony Award”

and was declared “The Best Regional Theatre” in the country. That’s an honor Fred Adams never foresaw, never dreamed of.

Today, on the 50th anni-versary, three words aptly describe the Utah Shakespear-ean Festival; same, change, and growth. Yes, Fred has been dreaming again, and yes, those dreams include growth — building a new the-

ater and more. What remains the same is the good quality theater being produced at and by the festival. Its growth includes new faces, new jobs, and ambitious plans for new playwrights as they bring their works to the festival.

That growth is evidenced by the years since 2006, when commissioned composer Brad Carroll and long-time festi-val actor and Southern Utah

University theater department director and lyricist Peter Sham began working on a musical script.

“Lend Me A Tenor” is not a new play, but “Lend Me A Tenor: The Musical” is evidence of all three aspects of the festival. It is a new ver-sion of an oft-produced play; it premiered in its musical form at the Utah Shakespear-ean Festival in 2007, and was

Shakespeare FestivalCelebrates years50

Photo courtesy Utah Shakespeare FestivalA crowd gathers for entertainment at the Utah Shakespeare Festival in Cedar City.

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a giant hit. The world pre-miere of “Lend Me a Tenor: The Musical” took place on the London Stage, and is now playing at the Giel-gud Theatre in London’s West End.

We’ve seen new faces in administra-tion and new faces on the festival stage. Fred Adams will be known as founder and executive producer emeritus and director of the Festival Centre Project, which will include the new theater. R. Scott Phillips, the festival’s managing director since 2007, has become its executive director. Actors and directors David Ivers and Brian Vaughn have signed on as the festival’s artistic directors. The two work well together both on stage and off,

said Phillips. Both will con-tinue acting and directing as they travel across the country

seeking new talent for the festival and maintaining their adminis-trative duties. In fact, next season, the two will resur-rect a two-man show they first did in 2005,

“Stones In His Pockets.”

“It’s impor-tant that as we take on these new projects that we protect the legacy Fred began,” said Phillips.

“Brian and David are looking forward to moving the festival ahead, all the time having great respect for what the fes-tival has done in the past.

Phillips also said the entire company will benefit from the university’s new president, Michael J. Benson, a great supporter of the arts. “Brian and David will also bring

some youth and new ideas to us as they begin their adminis-trative duties.”

“I hope that in the upcoming years we will produce every play in Shakespeare’s canon, in order,” Ivers said when asked where he would like to see festival in its next 12 years. Ivers is also committed to producing quality children’s theater.

“Brian and I have so many plans, and we’re very blessed to be in a place where our voices are heard and our ideas are taken seriously.”

Ivers said both he and Vaughn are looking forward to directing and “getting their hands into” the administra-tive side of the festival. He added that he sees the festival engage new leaders. “We have to continue to put our best feet forward and make sure the reputation of the Tony Award-winning theater is carried on.”

While at one time Fred Adams’ dream included dis-mantling the Adams Memorial Theatre and moving it across the street, Adams is now talk-ing about using some of the Adams Memorial’s trusses and beams to build a new theater.

The new project will include a theater like Shakespeare’s Old Globe, he said, “but it will include new things, aspects that will make the artists more comfortable, and the audience as well.”

Phillips said the new center will include retail opportuni-ties.

Ivers looks for a future in which tourists and Utahns alike will see in Southern Utah a place for a great many experiences from the festival to the canyons.

Adams also said his new position will allow him to be more involved in raising funds. His dedication to the-ater education and introducing the arts to young people can be seen easily this season in “A Midsummer Night’s Dream,” which Adams directed.

There are also children in “The Music Man” starring Brian Vaughn. Young faces are also seen in “Romeo and Juliet,” directed by David

Ivers, and in “Richard III.”When The Herald Journal

asked Adams why he was bringing on so many new and younger performers, he gave me a smile and said, “Job security.” Then he became more serious. “Young people are our future, both on the stage and behind it, and also they are our new audiences.”

In addition to new faces and new plays at the festival, it

also has a new name. From now on it will be called the Utah Shakespeare Festival.

The 2011 season includes: “A Midsummer Night’s Dream,” “Richard III,”

“Romeo and Juliet,” “The Music Man,” “The Glass Menagerie,” and “Noises Off.” Its fall season includes “The Winter’s Tale” and “Dial M for Murder.”

The Utah Shakespeare Festi-val’s 2012 season will include:

“The Merry Wives of Wind-sor,” “Mary Stuart,” “Titus Andronicus,” “The Drowsey Chaperone,” “To Kill A Mock-ingbird,” and “Skapin.” Its fall season will include “Hamlet” and “Stones In His Pockets.”

In honor of the festival’s 50th anniversary, the adminis-tration, the cast and the crew have dedicated the season to Fred Adams.

The Utah Shakespeare Festival is a jewel in south-ern Utah’s crown. If you see it once, you’ll want to see it again and again.

If you would like to be a supporter of the Utah Shake-speare Festival, send your tax deductible donation to: Utah Shakespeare Festival, 351 West Center Street, Cedar City, Utah 84720-2498. Please make a note on your check if you would like your dona-tion to be directed to the New Shakespeare Centre. Their telephone number is 1-435-586-7880.

Photos courtesy Utah Shakespeare FestivalAbove: A photo from a scene from “A Midsummer Night’s Dream; Below: “Richard III”; Right, “The Glass Menagerie.”

Derrik J. LangAP Entertainment Writer

LOS ANGELES (AP) — When the filmmakers of “Winnie the Pooh” were tasked by the Walt Disney Co. with creating a new story about the honey-loving bear two years ago, they had no interest in computer-generat-ing Pooh and his friends.

They also wanted no part in projecting Pooh’s latest Hundred Acre Wood adven-ture in three dimensions or upgrading his classic bound storybook to a tablet com-puter.

Instead, directors Stephen Anderson and Don Hall sought to faithfully return Pooh to his hand-drawn ori-gins for a feature film remi-niscent of the 1960s’ Pooh shorts, while also appealing to kids who’ve grown up with “Toy Story” and “Cars.”

“After we watched the first ‘Pooh’ films, we felt strongly those characters would still be funny,” said Hall. “The pacing was our challenge. We knew the pacing in those old films would not work, but we couldn’t crank it up to the level of today’s films because it would break ‘Win-nie the Pooh.’ We had to find a line and walk it. That took the most work.”

“Winnie the Pooh,” debuted today in the U.S., and will be the first time the Hundred Acre Wood residents of A.A.

Milne’s beloved books have marched into theaters since 2005’s “Pooh’s Heffalump Movie.” In recent years, Pooh and pals have strayed away from their storybook roots, appearing in direct-to-DVD movies and as puppets and computer-generated characters in Disney Channel series.

“When a character has been around for as many incarna-tions as Pooh, you some-times don’t realize when you drift away from the source material that made it reso-nate in the first place,” said voice actor Tom Kenny, who plays control freak Rab-bit. “In the same way that I

think it’s smart to reboot 007 or Batman, that’s basically what they did with Pooh.”

Jim Cummings, who has portrayed Pooh for more than 25 years in films, TV shows and video games, returns as the voice of Pooh and Tigger, as does Travis Oates as Piglet. New actors take on the other roles, including talk show host Craig Ferguson as know-it-all Owl and Pixar and Sesame Street animator Bud Luckey as loveably dismal donkey Eeyore. John Cleese narrates.

“We asked ourselves if the characters were more defined by their voice or

more defined by their per-sonality, with the voice not mattering so much,” said Anderson. “If you don’t have the voices of Pooh, Tigger, Eyore and Piglet, people are going to go nuts. Those had to be imitations of the origi-nals. That wasn’t so for other characters like Owl and Rab-bit.”

The new film’s plot is loosely based on stories from Milne’s books and follows Pooh, Tigger, Rabbit, Piglet, Kanga, Roo, Owl and Eeyore as they search for both a missing Christopher Robin and a new tail for Eeyore. Along the way, the critters encounter a mysterious crea-

ture called a Backson, who was briefly mentioned in 1928’s “The House at Pooh Corner.”

The illustrative journey was drawn by hand at the Walt Disney Animation Stu-dios in Burbank, Calif. Yet this “Pooh” isn’t totally an old-school endeavor. Anima-tors’ drawings were scanned into computers instead of copied, and the images, including the watercolor backdrops, were digitally painted, not filled in by actu-al brushes.

The other new element in this edition of “Pooh” was the use of actress-singer Zooey Deschanel as the film’s musical narrator. Deschanel croons the classic opening theme, as well other ditties laced throughout the film. The cast and crew are hoping the old-fashioned touches appeal to young and old alike, as well as reinvigorate the 85-year-old franchise.

“These movies last forever,” said Cummings. “’Snow White’ was done in 1937, and you can go to your video store and watch it now. You want it to be good because it’s going to outlast me, you and all of us. There is defi-nitely a pressure there to per-form. I never leave the fight in the gym. I bring it every time. I shoot for a homerun with every line.”

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Still playing

‘Pooh’ craves sweet spot between old and new

“Horrible Bosses”Rated R★★★This raunchy buddy com-edy wallows in silliness — glee-fully, and without an ounce of remorse or self-consciousness

— and even though you’re a grown-up and you know you should know better, you will be happy to wallow right along

as well. It’s a film that’s wildly, brazenly stupid — but also, you know, fun. Because like

“Bad Teacher,” “Horrible Bosses” knows exactly what it is and doesn’t aspire to be anything more, and that lack of preten-tion is refreshing. It isn’t trying to say anything profound about society or the economy or the

fragile psyche of the post-mod-ern man. It’s about three guys who hate their jobs and want to kill their bosses. And really, who among us hasn’t pon-dered such a plan? Naturally, no member of this trio is nearly as clever or sophisticated as he thinks he is. Together, they bumble and bungle every step

of the way and occasionally, by accident, they get something right. But the dynamic between Jason Bateman, Jason Sudei-kis and Charlie Day as they bounce off each other is cheer-fully loony, and the energy of their banter (which often feels improvised) has enough of an infectious quality to make you

want to forgive the film’s gen-eral messiness. Kevin Spacey, Colin Farrell and Jennifer Anis-ton, as the titular bosses, are clearly enjoying the freedom of playing such showy, inappropri-ate characters. 98 minutes.

— Reviews by The Associated Press

Ten years after the first “Harry Potter” movie

was released, the fran-chise has grown into the highest grossing franchise in film history. Each movie has been a box office juggernaut. Now we’ve finally come to the end where Harry and the gang must face down Voldemort one last time. A few of the movies haven’t been up to the expectations of the devoted fan base, but it’ll be hard to find anyone with complaints after they witness this finale.

Not only is “Harry Potter and the Deathly Hallows: Part 2” a rocking good tale of wizards, magic, and mayhem, it’s also the best action movie we’ve had this year. Yes, a story about three young wizards who wave wands and cast spells is the best action movie of the year. It’s because director David Yates and his crew under-stand something about action. That it’s a fluid motion, and even when the action is filled with numerous pieces of inserted-after-the-fact CGI animation, that you can still make coherent, cohesive action set-pieces. The action from the “Deathly Hallows” makes “Transformers 3” look amateurish. It’s nice to know that there are filmmakers out there who believe audiences can’t just be fooled by big, shiny explo-sions. That real action is a dance of sorts. It’s a story in its own right. You know you’re watch-ing good action when you care about what’s going on. Perhaps that’s the biggest reason why

the action in this movie is so good. We actually care about the people involved.

When we last left Harry, Ron and Herm-ione, they were on the course to finding hor-cruxes and defeating Voldemort once and for all. Voldemort had taken over the Ministry of Magic and plunged the entire wizarding world into a not-so-subtle Nazi analogy. Volde-mort wants to purge the mudblood (witches and wizards with non-magic blood) from the wiz-arding community. He believes in a pure, unfil-tered race. Hmm, sounds familiar doesn’t it?

Throughout the years at Hogwarts Harry has battled his snakelike nemesis in a variety of forms. Each time he’s able to overcome Voldemort and prevail because of some seem-ingly simple magical clause, weapon or ritual. Up until now it’s been hard to feel that Harry and his pals were ever in

danger. However, when Voldemort, flanked by his legions of followers, shows up at Hogwarts, it’s at that time where we begin to question the safety of Harry, which is crucial to the overall effect of the film.

I haven’t read all of the books (I’ve only just finished the fourth), so I can say that this movie still takes liberties with the more intricate parts of the story. Non-readers may find themselves a little lost at times, but as soon as the action starts up, it’s unrelenting and you’ll find yourself immersed in a few set-pieces that are beautiful-ly arranged. There’s real, honest-to-Dumbledore, danger happening here. People are dying. This isn’t a children’s story anymore. Harry is in mortal peril, along with everyone else that stands against Voldemort and his army.

“Deathly Hallows: Part 2” is not only one of the

greatest cinematic thrill rides you’ll have this year – ‘Super 8’ being the other – but at its core it’s a story about

characters we’ve grown to love. When we care about the characters amidst the action and

mayhem, that makes it more exciting, believ-able and personal. That’s what action movies are missing nowadays, a personal touch. Not to worry though, because

“Deathly Hallows: Part 2” is as intimate a movie as you will ever see. It’s a perfect way to send off the franchise on a high note.

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1‘Potter’ provides best action of the year

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By Aaron Peck

Boris Godunov

The somber Russian opera “Boris Godunov” by Modest Mussorgsky made its regional debut July 8 as the highlight of the Utah Festival Opera &

Musical Theatre’s ongoing 2011 season.“Boris Godunov” is presented on an appropriately

stark set designed by Jack Shouse, with only a single icon for scenery. The opera recounts the legend of Tsar Boris, who ruled Russia as regent following the death of Ivan the Terrible before being elected tsar in 1598. But the legitimacy of Boris’ reign was plagued by accusa-tions that he plotted the murder of young Dmitry, a rival heir to the throne.

Although it is rarely seen by American audiences, “Boris Godunov” is considered to be Mussorgsky’s mas-terpiece and an artistic watershed of Russian opera. After censors at the Russian Imperial Theaters refused to pro-duce the original 1869 version of the opera, Mussorgsky penned a revision that took an entirely different ideologi-cal direction. Given that wealth of alternative material to choose from, UFOMT director Julia Pevzner wisely decided on a somewhat abbreviated selection of scenes for her staging of “Boris Gudunov.”

The premier performance of “Boris Godunov” proved as challenging for some audience members as it was for the UFOMT cast because the storyline here is simply not as accessible as more traditional operatic offerings. But

See BORIS on page 12

South Pacific

The Utah Festival Opera & Musical Theatre’s ongo-ing production of “South Pacific” successfully breathes life into familiar dramatic material that is

more than half-a-century old. “South Pacific,” a tale of clashing cultures and people

cut adrift from their roots by World War II, was penned by Broadway giants Richard Rodgers and Oscar Ham-merstein II only four years after the conclusion of that conflict. While that made the musical unusually topical in 1949, sophisticated modern audiences tend to view “South Pacific” as hopelessly romantic and chock full of wartime clichés. Moreover, the racial prejudice subplot that emerges in the second act of the musical is so dated that it feels contrived.

A common solution to those problems nowadays might be to play for self-conscious laughs by turning “South Pacific” into a campy nostalgia fest. But here in Logan, director Maggie L. Harrer has chosen a riskier approach by playing the musical straight and trusting in the talents of her performers to make the original material seem still relevant.

Harrer’s gamble pays off richly in the person of Molly Mustonen, a New York native making her UFOMT debut as U.S. Navy Ensign Nellie Forbush. Mustonen plays that role with such wide-eyed innocence that she not only makes the improbable reactions of the self-

See PACIFIC on page 11

Oliver!

For those who hate to read the Victorian Era soap operas written by Charles Dickens but love musical comedy, the Utah Festival Opera & Musical The-

atre’s flawless production of “Oliver!” is the perfect sum-mer treat.

Because the quality of productions of this Lionel Bart musical depend so heavily on the performances of young-sters, it takes inspired casting and direction to stage this show in an entertaining fashion. Luckily, director Jack Shouse has pulled off that miracle here in Logan.

Eleven-year-old Jace Salcido takes the role of the orphan Oliver Twist and makes it his own from the first moment that he opens his mouth to sing. He not only has an amazingly strong voice for his diminutive size, but also one that is so sweet that it sends chills through the audi-ence. Moreover, despite being a newcomer to the stage, Salcido has nothing to apologize for as a novice actor.

Cameron Conrad is equally well-cast as Oliver’s side-kick, the Artful Dodger, and 16 other boys sing and act with remarkable aplomb for their ages as members of the show’s orphan/street urchin choruses.

With the youthful actors carrying their own weight, the adults in “Oliver!” are free to perform at the top of their game and they do just that. The cast is led by Jessica

See OLIVER! on page 11

Don Giovanni

The Utah Festival Opera & Musical Theatre opened its 2011 season July 7 with an outstanding produc-tion of the opera “Don Giovanni” by Wolfgang

Amadeus Mozart.The show was capably directed by Daniel Helfgot,

a veteran of more than 200 productions of operas and operettas in a wide range of styles. The orchestra for “Don Giovanni” was brilliantly conducted by Barbara Day Turner, the founder and music director of the San Jose Chamber Orchestra.

In the title role, Mark Womack carries this show both vocally and dramatically. Audience members will recognize Womack from appearances in five previous UFOMT seasons, most recently in the leading roles of Sky Masterson in “Guys and Dolls” and Captain Von Trapp in “The Sound of Music” last year. As Don Giovanni, he not only manages to make the serial seduc-er’s arrogant misogyny believable, but also injects a note of wry humor into an otherwise thoroughly despicable characterization.

Womack is fortunate to play opposite two gifted sopra-nos as leading ladies, Eleni Calenos as the love-struck Donna Elvira and Rochelle Bard as the vengeful Donna Anna. Calenos convincingly portrays the opera’s most multi-dimensional character, a woman so conflicted that she’s more than willing to forgive the rogue who

See GIOVANNI on page 12

Festival in reviewBy Charlie Schill

Last week Utah Festival Opera and Musical Theatre debuted four festival shows which will continue to play at Ellen Eccles Theatre through the first week of August.

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“For Sale” “Sold”

Photos taken by Brenda Schoenfeld

Friday, JuLy 15

FREE CONCERTS FOR EVERYONEAT lOgAN high AudiTORium

NOON MUSic Saturday, JuLy 16 tueSday, JuLy 19

Jenni Whiteley, piano

Cinnamon Creek Folk Singers

Jennifer McEntire Whiteley just completed all the requirements for a certi-fication in piano through the Music Teacher’s National Association and now wants to share her music and what she’s learned with the wonderful people of her native land—Cache Valley. She will perform a piece from each musical time period and explain how the piece reflects its time in history. Miho Everitt, a Cache Valley piano teacher, will also join her at the end for a Mozart piano duet.

The Cinnamon Creek Folk Singers are a group of 12 women from Northern Utah who, for 19 years, have arranged, performed and shared their love for traditional western pioneer, railroad and American folk songs. The group was created to pre-serve and promote the national and regional folk music heritage. Traditional instru-ments used during their programs include the mountain and hammered dulcimers, fiddle, bodhran drum, guitar, concertina, tin whistle, banjo, folk bass, harmonica and washboard. Best known for their vocal harmony, the Cinnamon Creek Folk Singers use authentic and original arrangements, including “shape note” songs, to celebrate the folk writing and performance process. Stories and journal entries are used dur-ing the program to bring to life western pioneer history. Railroad songs, religious hymns, western migration songs and traditional folk music are performed by women who wear traditional costumes representative of the American West in the late 1800s.

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tueSday, JuLy 19 WedneSday, JuLy 20 thurSday, JuLy 21

Young Artist Cup winners and comedian Randall Bagley

Ralph Degn and Jessica Degn Rampton

3’s Company

PacificContinued from page 9

proclaimed “hick from Little Rock” to her first romance believable, but also infects her fellow cast members and the audience with her enthu-siasm. From its opening curtain, this UFOMT production is Mustonen’s show; it is her spirited singing and dancing that makes some of the musi-cal’s well-known produc-tion numbers work.

Mustonen is supported by an outstanding cast. Branch Fields provides her love interest as French planter Emile de

Becque and his power-ful bass voice makes the musical’s trademark songs “Some Enchanted Evening” and “This Nearly Was Mine” mem-orable. Jeanette Blakeney is delightfully exuber-ant as the Tonkinese businesswoman Bloody Mary. UFOMT veteran Mark Womack turns in a solid performance as Marine Lieutenant Joe Cable as does crowd pleaser Stephanous Tsir-akoglou as the seagoing con man Luther Billis.

After a nearly letter-perfect debut perfor-mance, some gaffs that would be considered wardrobe errors in the movie business emerged toward the end of “South

Pacific.” While an enlisted combat engineer who has “gone native” like Billis could easily get away with missing a few shaves, a full beard and shaggy haircut would never have been toler-ated on a naval officer flying a PBY seaplane. It’s even more jarring when Billis converses with a couple of what he calls “Marines” who are conspicuously dressed as sailors. UFOMT’s audiences include too many military veterans for errors of that kind to escape notice.

Repertory performanc-es of “South Pacific” will continue at the Ellen Eccles Theatre through Aug. 5.

Oliver!Continued from page 9

Medoff in the role of Nancy, a woman of the street who is torn between her love for outlaw Bill Sykes and her protective instincts toward Oliver. Aided by a booming lyric soprano voice, Medoff dominates the stage with breathtak-ing acting and dancing skills.

The contributions of the adult ensemble to the success of this production cannot be ignored. Those talented singers open Act II with a rollicking performance of the tavern

song “Oom Pah Pah” that had the audience cheer-ing during the premier of “Oliver!” on July 7. Minutes later, the same audience was thrilled by the sheer beauty of their rendition of the haunting “Who Will Buy?”

The highlight of this show is naturally the appearance of Logan impresario Michael Bal-lam in its cast. In recent years, the founding gen-eral director of UFOMT has resisted the tempta-tion to hog the spotlight by limiting himself to age-appropriate minor roles in the festival’s pro-ductions. In the pivotal role of Fagan, however, Ballam returns to center stage where he belongs.

The veteran trouper makes even a nuanced characterization like that of Fagan look easy because – for him – it is easy. Ballam’s standout performances of the songs “You’ve Got to Pick a Pocket or Two,” “Be Back Soon” and “Reviewing the Situa-tion” are simply unforget-table.

The orchestra for “Oli-ver!” is brilliantly direct-ed by Karen Keltner, the resident conductor of the San Diego Opera. The set designs by Dennis Hassan are appropriately moody and atmospheric.

Repertory performanc-es of Oliver! will con-tinue at the Ellen Eccles Theatre through Aug. 6.

Editor’s Note: Charlie Schill is a former city editor of The Herald Journal. He has directed and performed with theater groups in the United States, South Korea and Germany. Schill also served as theater critic for The Temple Daily Telegram in Temple, Texas; and Pacific Stars & Stripes and Japan Times, both daily newspa-pers in Tokyo, Japan.

This delightful duo of father and daughter has been a favorite at the noon tabernacle programs for several years.

Ralph has been the piano player at the Pick-leville Playhouse since 1978.

Jessica graduated from USU with a degree in music education/choral emphasis and liberal arts. She has performed at the Utah Festival Opera, LDS Conference Center, Lagoon, Stage Stop Theater and Pickleville Playhouse. For the past eight years she has been the music director and orchestra conductor for Kaysville City’s musicals.

3’s Company began several years ago with two clarinets and a bassoon. It eventually was put on hold when two of its members relocated and began new adventures with their families. Two years ago a woodwind quintet was formed called “The What.” Today 3’s Company is back with a quintet called Quintessence (formally “The What”), Dichotomy Duo, Tihai Trio, and the Mio Trio. Members include Ali Bailey, Kelli Richardson, Warren Barton, Brad Henrie, Candice Kempton, DeAnn Johnson and Dan Stowell. Several combination of instruments will share a spectrum of tonal colors, and an array of music from folk tunes to the classics. For more information, or book performances call Dan Stowell at 435-760-1130, or e-mail: [email protected]. We hope you enjoy our performance.

Randall Bagley will perform at the noon music concert series despite having no musical talent. Randall will perform stand up comedy mixed in with a little juggling. He has made people laugh for almost 20 years with his dry sense of humor and is the past winner of the Utah State University Comedy Competition. He has also opened for the Smothers Brothers. He lives in Providence and he and his wife have four cute children.

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BorisContinued from page 8

the opera’s majestic score and the quality of the perfor-mances still make seeing this production an unforgettable experience.

The opera opens with a choral tour de force, as an ensemble of more than 50 superb voices set the stage for the ill-fated tsar’s rise and fall. Chorus master Stephen Carey has skillfully woven the main ensemble, children’s chorus and ancillary chorus members into integral char-acter in the drama. By repre-senting the common people of Russia, their voices not only explain the opera’s complicat-ed back story but also reflect public opinion gradually shifting against Tsar Boris.

Craig Hart, last seen locally in the 2010 UFOMT season, returns as Boris, a role that seems perfect for his power-ful bass voice. Hart’s strong acting skills lend just the right note of tragedy to this tale of a monarch who is ultimately crushed by his own guilt.

Another UFOMT veteran, A.J. Glueckert, plays the unusual role of the Simple-ton in Boris Godunov. After silently witnessing much of the opera’s action, Glueck-ert finally gives voice to the tsar’s conscience at a critical moment.

Equally critical to the story is Jordan Bluth in the role of Prince Shuisky. Bluth is chill-ing as a courtier who omi-nously circles Boris for much of the opera like a shark wait-ing for blood to appear in the water. Bluth’s resonant tenor voice drips with malice as he later denounces Boris to the Russian Duma and he men-aces the tsar’s heir Feodor (Elena Mindlina) as the final curtain falls.

Repertory performances of Boris Godunov will continue at the Ellen Eccles Theatre through Aug. 5.

GiovanniContinued from page 8

betrayed her love. Bard has the most vocally challeng-ing role in “Don Giovanni,” particularly in the arias Or sai chi l’onore and Non mi dir. But she hits all the high notes with both gusto and heartfelt emotion.

Much needed comedy relief is provided by Stephanos Tsirakoglou as the servant Leporello and Molly Mus-tonen and Gebriel Preisser as the newlyweds Zerlina and Masetto. Tsirakoglou is hilari-ous throughout the opera and practically steals the show with a mime seduction ballet that opens Act II. Mustonen is utterly adorable as the round-heeled bride who initially would love to fall victim to Don Giovanni’s charms if only Donna Elvira would stop interrupting the process. Preisser plays the dim-witted groom with a delicious mix-ture of jealous outrage and bewilderment.

The only false note in the UFOMT production is Jor-

dan Bluth in the role of Don Ottavio, who is betrothed to Donna Anna. Bluth has a wonderful tenor voice, but has chosen to portray Don Ottavio’s indecisiveness about seeking vengeance against Don Giovanni with minimal use of facial expressions and gestures. That dubious choice makes his characterization

appear woefully understated, a problem particularly evident in scenes with Bard, where she is often emoting frantical-ly and getting little in return from Bluth.

The staging of “Don Giovanni” by set designer Jim Lyden is very much up to UFOMT’s usual high stan-dards and the stage crew han-

dled numerous scene changes smoothly. The only obvious technical glitch during the debut performance of the opera was that the spotlights were slow in following some performers during their arias.

Repertory performances of “Don Giovanni” will continue at the Ellen Eccles Theatre through Aug. 6.

Editor’s Note: Charlie Schill is a former city editor of The Herald Journal. He has directed and performed with theater groups in the United States, South Korea and Germany. Schill

also served as a theater critic for the Temple Daily Telegram in Temple, Texas; and Pacific Stars & Stripes and Japan Times, both daily newspapers in Tokyo, Japan.

A group of enthusiastic owners of historic rock

houses in Newton are celebrat-ing their history, bringing peo-ple together, and raising funds for the Newton Town Library, all at the same time. A tour of old rock houses,which were built in the 1800s and early 1900s will be held.

The tour will be held Satur-day, July 23, from 1 to 4 p.m., as one part of Newton’s annual pioneer day celebration, which also includes a dance, a parade, a wild west show and a lunch in the park. People who attend the self-guided rock house tour

will be able to explore six of Newton’s early rock houses. The houses on the tour were all built between 1875 and 1906.

Tickets for this self-guided tour are $5 and may be pur-chased at the Newton Market, Lee’s Market Place, The Cache Valley Visitor’s Bureau, or the Newton Town Library during regular library hours. Tour booklets are $2 and may be purchased at ticket locations or at any of the open houses. For more information, or to purchase tickets by mail, call 435-563-3654 or go to http://pioneerrockhouses.blogspot.

Come see six historic Newton homes

information about each house. But we found so many interesting stories about the early settlers that the book just kept growing,” said Woodward. Tickets for this self-guided tour are $5 and may be purchased at the Newton Market, Lee's Market Place, The Cache Valley Visitor’s Bureau, or the Newton Town Library during regular library hours. Tour booklets are $2 and may be purchased at ticket locations or at any of the open houses. For more information, or to purchase tickets by mail, call 435-563-3654 or go to http://pioneerrockhouses.blogspot.com.

A Map of the town and the house on the tour follows.

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COMBINED PRINT & E-BOOK FICTION1. “Now You See Her,” by James Patterson and Michael Ledwidge2. “The Help,” by Kathryn Stockett3. “Smokin’ Seventeen,” by Janet Evanovich4. “Water for Elephants,” by Sara Gruen5. “Deeper Than Midnight,” by Lara Adrian

COMBINED PRINT & E-BOOK NONFICTION1. “Heaven is for Real,” by Todd Burpo with Lynn Vincent2. “In the Garden of Beasts,” by Erik Larson3. “Unbroken,” by Laura Hillenbrand4. ‘Bossypants,” by Tina Fey5. “The Original Argument,” by Glenn Beck with Joshua

Charles

HARDCOVER FICTION1. “Now You See Her,” by James Patterson and Michael

Ledwidge2. “Smokin’ Seventeen,” by Janet Evanovich3. “State of Wonder,” by Ann Patchett4. “Against All Enemies,” by Tom Clancy with Peter Telep5. “One Summer,” by David Baldacci

HARDCOVER NONFICTION1. “Unbroken,” by Laura Hillenbrand2. “In the Garden of Beasts,” by Erik Larson3. “Bossypants,” by Tina Fey4. “The Greater Journey,” by David McCullough5. “Miracle of Freedom,” by Chris Stewart and Ted Stewart

Keep your reading list updatedat www.nytimes.com/pages/books/

* This week’s New York Times Best-seller List *

By Mary FosterThe Associated Press

Mark Adams’ decision to finally seek adven-

ture has paid off big-time for readers in “Turn Right at Machu Picchu,” a book that combines history, travel and adventure.

Adams, an editor for sever-al adventure and travel mag-azines, realized at age 40 that he had spent a lot of time on other people’s adventures but had experienced none of his own. What better way to start than by investigating allega-tions that Hiram Bingham III may not have discovered the Incan city of Machu Picchu?

A lofty ambition for a man who last slept outdoors when he was 7 years old in a toy teepee that his father set up in their backyard.

Fortunately, Adams was up to the challenge — although he sometimes doubted it — as he followed Bingham’s path through climbs that were both taxing and some-times dangerous.

With the help of John Leiv-ers, an Australian explorer who is an expert on the Inca sites in the Andes, and a crew of coca leaf-chewing mule tenders and a cook, Adams retraced the route that Bingham, a professional explorer who helped inspire

the film character Indiana Jones, traveled on his way

to his stunning discoveries. Quite a challenge, since “by journey’s end, Bingham’s group had traveled nearly one thousand miles in 115 days.”

On his trek, Adams wound his way through the moun-tains of Peru, discovering wild country with breathtak-ing views and stunning ruins, and meeting interesting people long before he makes it to Machu Picchu.

Adams details the fascinat-ing story of Bingham, one of the ambitious explorers of the early 20th century, whose lust for fame was fulfilled in 1911 when he discovered not just one, but three amazing

archaeological sites.He adds in information on

Peru and modern-day tour-ism at the famous site; the history of the Incas; the his-tory and geography of Machu Picchu and other Incan ruins; and details the age of the great explorers.

And he makes plenty of his own discoveries along the way.

All of this is done with a liberal helping of humor, and it adds up to a story that hooks readers early and then sails along so interestingly that it’s one of those “can’t put it down” books.

What more could armchair adventurers want?

Armchair adventurers will enjoy Adams book

Michelle WienerThe Associated Press

The opening chapter of Rachel Shteir’s study

of shoplifting allows us to vicariously watch the surveillance video of Winona Ryder at a Saks Fifth Avenue store in Beverly Hills, Calif., in 2001. But this is no tab-loid study banking on our collective schadenfreude, nor a superficial treatment of bad things people do. Shteir has written a sharp, smart and thoroughly entertaining cultural history.

That Shteir’s work is impec-cably researched should come as no surprise to those who have read her previous work on strip-tease, and she brings the same dedication and keen insights to shoplifting.

Alongside a rundown of vari-ous laws passed and famous tri-als (such as, for example, that of Jane Austen’s aunt — really!), Shteir looks at popular culture’s treatment of the shoplifter,

from Daniel Defoe’s Moll Flanders to characters in con-temporary novels by Myla Goldberg and Kathryn Harrison. She also provides personal testimony from shoplifters who remember the thrill of sneaking an extra piece of candy from the corner drugstore to those who were —

or still are — involved in black-market rings, reselling boosted items for massive profits.

Shteir discusses shoplifting as a crime, once punishable by hanging; as a disease, diagnosed mainly among the wealthy as need was not considered a fac-tor; and as a political protest.

Author looks at cultural history of shoplifting

BorisContinued from page 8

the opera’s majestic score and the quality of the perfor-mances still make seeing this production an unforgettable experience.

The opera opens with a choral tour de force, as an ensemble of more than 50 superb voices set the stage for the ill-fated tsar’s rise and fall. Chorus master Stephen Carey has skillfully woven the main ensemble, children’s chorus and ancillary chorus members into integral char-acter in the drama. By repre-senting the common people of Russia, their voices not only explain the opera’s complicat-ed back story but also reflect public opinion gradually shifting against Tsar Boris.

Craig Hart, last seen locally in the 2010 UFOMT season, returns as Boris, a role that seems perfect for his power-ful bass voice. Hart’s strong acting skills lend just the right note of tragedy to this tale of a monarch who is ultimately crushed by his own guilt.

Another UFOMT veteran, A.J. Glueckert, plays the unusual role of the Simple-ton in Boris Godunov. After silently witnessing much of the opera’s action, Glueck-ert finally gives voice to the tsar’s conscience at a critical moment.

Equally critical to the story is Jordan Bluth in the role of Prince Shuisky. Bluth is chill-ing as a courtier who omi-nously circles Boris for much of the opera like a shark wait-ing for blood to appear in the water. Bluth’s resonant tenor voice drips with malice as he later denounces Boris to the Russian Duma and he men-aces the tsar’s heir Feodor (Elena Mindlina) as the final curtain falls.

Repertory performances of Boris Godunov will continue at the Ellen Eccles Theatre through Aug. 5.

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Utah Festival Opera & Musical Theatre’s annual gala event, “Dick-ens’ Delight,” will include a Victorian England-themed dinner with entertain-ment and a performance of “Oliver!” on July 15, beginning at 5 p.m. The Dinner is at the Riverwoods Conference Cen-ter Grand Ballroom, 615 S. Riverwoods Parkway, and “Oliver!” is at the Ellen Eccles Theatre. Tickets are $125 and can be purchased at the Utah Festival Opera box office or by calling 800-262-0074.

Stokes Nature Center invites curious toddlers, ages 2-3, to join them for Par-ent Tot from 10 to 11 a.m. Friday, July 15. Explore animals, plants and nature through music, crafts and games. This program is parent interactive, and all toddlers must have a parent present to participate and explore along with their child. The program fee is $3 ($2.50 for SNC members). For more info, call 435-755-3239 or visit www.logannature.org.

Amazing sister/brother acoustic duo act Ali and Tom Durrant will perform from 6 to 8 p.m. Friday, July 15, at Pier 49 San Francisco Style Sourdough

Pizza. Their fantastic acoustic guitar work combines with excellent vocals to produce a unique sound fusing the best of classic folk with an upbeat, modern acoustic sound. Hear them at www.reverbnation.com/thehopons. Everyone is invited.

High energy singer/songwriter/guitar-ist Isael Torres will perform at Pier 49 San Francisco Sourdough Pizza from 6 to 8 p.m. Saturday, July 16. Isael is a great music artist who fuses Latin with pop. Come enjoy his act with some

Across1. Top of the ___5. Plot again10. Spain’s Santo

Domingo de ___ Abbey15. Imbroglio19. Alero, e.g.20. Straws in the wind21. Shorthand system

inventor Pitman22. Put down23. Rescuing at the

eleventh hour27. Backgammon

impossibility28. “One of ___” (Willa

Cather novel)29. Pop up30. “To ___, With Love”31. Bring to a boil?33. Terrible time?34. Setting for TV’s

“Newhart”35. Conned36. Free of errors37. Letters before an

alias39. Spot42. Without: Fr.43. Crowns46. Swellhead49. May not be around

much longer55. Melodious56. Ready to serve57. Rings of color58. Exemplars of twin-

ship59. Advise62. Saint Sebastian, e.g.63. Govt. property over-

seer65. Military mission,

slangily66. Family67. They are made of

ammonia, methane, car-

bon dioxide and water70. Most moth-eaten72. Like a churl76. Harmony78. “___ Train to Clarks-

ville”79. Sloping troughs81. “We might as well

do it now” (with “There’s”)85. Do museum work86. Classical composi-

tions87. “Giovanna d’___”

(Verdi opera)90. Guitar sound92. Word with corn or

skid93. Doesn’t work97. Rocky prominence98. Took the cake, say100. Break102. Potsdam Confer-

ence attendee103. Dishevel105. Eyes107. It’s better read on

a Kindle109. Datebook abbr.110. “We need to end

this”114. Certain network115. Puncture116. Third of nine117. Racetrack fence118. While lead-in119. Gimcrack120. Drives off121. Deep ___ bend

Down1. Was master of cer-

emonies2. Lady of Arthurian

romance3. Part of speech4. Telepathy and such5. “Going ___: An Amer-

ican Life” (Palin book)6. Qatari leader7. Magazine genre8. Aardvark’s morsel9. “Fiddlesticks!”10. Menacing11. Egyptian fertility

goddess12. “Arsenic and Old

___”13. Pin ___14. Disdain15. Gym equipment16. Biblical prophet17. Swinger?18. Positions24. Beans25. One taking a bow?26. Kicks32. Sounds33. Embroidery hoops34. Pause37. Foofaraw38. Japanese martial art40. Back then41. “Field of Dreams”

setting42. Pink-legged bird44. Space ___45. Verse with 14 lines47. Archetype48. Baby bird?49. Drink from a dish50. Provoke51. Using52. Climb again53. ___ Day54. Occupational suffix59. Song holder60. Plaudits61. A ship may be driv-

en here by the wind63. Eblis, for one64. Flower holders?67. Rook68. Plastic ___ Band69. Newspaper section

71. Gregg grad72. Brownish73. Arapaho foe74. Place for a DVD

player75. Best guess: abbr.77. “___ Down” (Bobby

Valentino single)79. PC component80. Cheer82. Author Levin83. Home of Mammoth

Cave National Park

84. Manhandle87. Habiliments88. Enthusiast89. Hard outer layers91. Apple variety94. Catchphrase95. Electronics whiz96. Quiet98. Sports Illustrated’s

1974 Sportsman of the Year

99. Bait101. Jazz musician

Davis102. Wet nurses, over-

seas104. Leave in, to an

editor105. Auricular106. Tilt107. Novice: var. sp.108. Anne Frank’s

father111. Time piece?112. Sixth note113. Nettle

Crossword www.ThemeCrosswords.com

Answers from last week

By Myles Mellor and Sally York

CalendarFriday

Saturday

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good pizza for a great night out.

Come participate in a cycling event that is just as fun for spec-tators as riders Saturday, July 16, at Lion’s Park, 100 N. 500 East in Hyde Park. Free. Registra-tion begins at 11:30 a.m., with kids racing at noon and adults (ages 14 and up) at 12:30 p.m. Racers ride laps on a grass, dirt and pavement course in a test of endurance. Kids ride one lap on course. Zany costumes are encouraged. Obstacles during the race will include “heckle alley” where riders will confront marsh-mallow assaults and friendly super-soaker fire. The event is free. Mountain bikes or cyclo-cross bikes are suitable for this course; helmets are mandatory. For questions or to volunteer, contact Jennifer Bowman at [email protected].

“Dodge This” dodgeball tournament will be held July 16 at the Logan Rec Center, 100 W. 195 South in Logan. Cost is $100 per team of 10 people. All participants will receive head-bands and T-shirts. T-shirt pick-up starts at 9:30 a.m. with the tournament starting at 10 a.m. All proceeds will support Special Olympics of Utah. For more information contact www.wix.com/mgarn8/dodgethis.

Jeremy Threlfall will be per-forming favorites at the Pioneer Valley Lodge on Saturday, July 16, at 3 p.m. The address is 2351 N. 400 East in North Logan. Join us for this free event open to the public. For more information please call 435-792-0353.

The first annual bicycle “Ride Around the Wellsvilles,” will be held July 16. This is a non-com-petitive event sponsored by the Logan Rotary Club. The 72-mile ride begins and ends in Logan at the Willow Horseshoe Park, 500 West and 700 South. The route goes over Wellsville Canyon to Brigham City and continues along the east side of the Wells-villes returning to Cache Valley via the Valley Highway then to Mendon, finishing at the park in Logan. Proceeds from the event will benefit the Community Food Pantry. For a detailed route map, more information and online

registration go to www.rotaryraw.com.

Stokes Nature Center invites all ages to a hummingbird open house from 5:30 to 8:30 p.m. on Saturday, July 16, at Corinne Thul’s backyard at Second Dam. Participants will learn fascinating facts about hummingbirds, how to identify different species, and will have the opportunity to feed them by hand. Cost is $5 adults/$3 kids (discount for SNC members). For more information, please call 435-755-3239 or visit www.logannature.org.

Trained AARP volunteers will be conducting a CAR-FIT pro-gram on Saturday, July 16, in the parking lot adjacent to the Cache County Senior Center at 246 N. 100 East, Logan, from 9 a.m. to 1 p.m. This free event assists seniors to establish a “fit” with their vehicle by recommend-ing adjustments and adaptions to enhance safety while driving. Reservations are preferred by calling Susie Jackson at 435-753-2866.

Valley Church of Smithfield will be hosting a free Block Party July 16 from 11 a.m. to 2 p.m. at the old Smithfield City Building (50 N. Main, Smithfield). There will be a bounce house, free food, games and more. We will also be having a yard sale to benefit The Center for Pregnancy Choices. For more information, please email [email protected] or call 563-4724.

Sunday at the Park continues July 17. Associate Professor Shawn Fisher, representing the Lyric Theater, will discuss set design and other aspects of the theater. We meet on the lawn adjacent to the Old Main build-ing on USU campus. Bring your own lawn chairs. In the event of rain we will meet in the Family Life Building, Room 206. Due to the closure of Champ Drive from 400 North, use 800 East through the campus on Champ Drive and around Old Main to the park-ing lot. For questions call Myles Daitzman at 787-4142.

Valley Church of Smithfield will be holding a Vacation Bible School July 18 through 22 from 6 to 8:30 p.m. each night. Start Your Engines for “REV IT UP! Full Throttle for God.” There will be Bible lessons, games, snacks, music, puppet shows and more. We will have classes for ages 2-3 years old, 4-5 years old, first through third graders and fourth through sixth graders. All are welcome. For more information email [email protected] or call 563-4724.

Laughter yoga classes will be offered Mondays at 9 a.m. at 209 W. 300 North, Logan. Laughter yoga sessions are free. Anyone is welcome, no skills needed. Wear comfortable clothes. The purposes of laugh-ter yoga are to improve health by bringing more oxygen to the body, increase socialization, reduce stress and spread hap-piness to Cache Valley through laughing. For more information, contact certified laughter yoga leaders, Mami Matsumoto at [email protected] or 435-760-4619, or Mimi Maeda, 435-512-8659.

“Tribute to Greatest Gen-eration” concert will be held Monday, July 18, at 7 p.m. at the Brigham City Fine Arts Center, 58 S. 100 West. Tickets are $10. The show will include Broadway, popular and original compositions. For tickets and info available at www.kevinkula.net, (435)757-0335, or 30 min-utes before show if not sold out. Limited seats available.

The Big Fix Discout Mobile Spay/Neuter Clinic will be at Petsmart in Logan on July 18. Walk-up micro-chipping and vaccinations available to any-one from 11 a.m. to 3 p.m. a $5 processing fee per animal applies to clients getting vaccina-tions only. Every cat fix is $20. Female dogs start at $65; male dogs start at $55, depending on weight. Additional fees for ani-mals with special conditions. Ani-mals must be between 8 weeks and 6 years of age and weigh at least 2 lbs. Do not feed pet after 9 p.m. the night before surgery

if pet is over 4 months; do not feed after 6 a.m. if pet is under 4 months. Water is OK. No sick animals. Cats must be in labeled carriers, dogs on leashes. For more information call 1-866-PETS FIX or www.utahpets.org.

Concert on the Square in Wellsville will feature the 4 Hims on Monday, July 18, at 7 p.m. at the Tabernacle Square. The Edwards brothers have per-formed together for years. Come enjoy an evening of comedy and music.

Utah Festival Opera & Musi-cal Theatre will present two performances of “A Tribute to George Gershwin,” featuring the Utah Festival Opera orches-tra and vocalists with Benjamin Salisbury as piano soloist for

“Rhapsody in Blue” and more July 19 at 7:30 p.m. at the Ellen Eccles Theatre. Tickets are $11-$66 and can be purchased by calling 800-262-0074 or online at www.ufomt.org.

Stokes Nature Center invites adults to Backyard Harvest: Foods for Fall, held from 7 to 9 p.m. on July 19 at the Logan Rec Center. Fonnesbeck Green-house owner Barry Fonnesbeck will teach participants how to grow, harvest and store cool-weather crops. Cost is $5 ($4 for SNC members). Registration required. For more information, please call 435-755-3239 or visit www.logannature.org.

Do you know what pioneer children did to learn how to be graceful? They played a game called Graces, and you can too during Daily Historic Adven-tures at the American West Heritage Center. Open Tuesday through Saturday, 11 a.m. to 4 p.m. Cost is $6 for adults and $4 for kids ages 3-11, students, seniors and military. Visit www.awhc.org or call 435-245-6050 for more information.

Bill Gabriel performs on guitar each Wednesday at 6:30

p.m. at Pier 49 San Francisco Style Sourdough Pizza, located on 1200 South across the street north of Maceys. Everyone is welcome.

You may recognize Bryce Wood as the singer/songwriter from the popular local band Three Weeks. Bryce has a new solo album he’s been working on, and will be performing some of his new music July 20 at Paradise Park. Admission is free, but please tip Bryce or buy his album if you can.

Utah Festival Opera & Musical Theatre will present three staged concert performances of the bubbly, romantic Viennese oper-etta “The Merry Widow” on July 20 (1 p.m.), and July 28 (7:30 p.m.) at the Ellen Eccles Theatre. The production will be staged with full cast and orchestra. Tick-ets are $11-$66 and can be pur-chased by calling 800-262-0074 or online at www.ufomt.org.

Cool Classics concert series will be held July 21 and 22 at the USU Performance Hall, 4030 Old Main Hill in Logan. Pro-fessor Gary Amano’s students will be performing on the piano. This year’s “College Virtuosos” recital will include performances by Adam Nielsen (currently pursuing a doctorate degree in performance), Luke Hancock (recently completed his master’s degree at USU), and Brandon Lee (graduate student in piano performance at USU). The “Ris-ing Stars” evening will include solo and concerto performances by prize-winning pre-college students. Admission is free, but student piano scholarship dona-tions will be accepted.

Stokes Nature Center will host Totally Trees Camp from 1 to 4 p.m. on July 19 for ages 4-7, and from 9 a.m. to 12 p.m. on July 21 for ages 8-12. Campers will learn all about trees, get to know our local species, and make tree inspired art. Cost is $30 ($25 for SNC members). Registration required. For more information, call 435-755-3239 or visit www.logannature.org.

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