NEWSIES strikes a chord at West Valley Arts

WEST VALLEY CITY — There is something wonderfully infectious about Newsies. Give a spirited cast of performers a stage, a few dozen newsies, a stack of newspapers and a score full of soaring anthems, and it is hard not to find yourself rooting for the underdog.

With music by Alan Menken, lyrics by Jack Feldman and a book by Harvey Fierstein, Newsies brings the true story of the 1899 Newsboys’ Strike to the stage with plenty of heart, humor and high-energy choreography. West Valley Arts’ production, directed by Kate Rufener, embraces that spirit with bold choices, inspired casting and an ensemble that repeatedly proves to be the heart of the show.

The ensemble numbers are the real headline of this production. Under the direction of Music Director Aioleoge Lesa, the cast is remarkably unified, with crisp diction and strong musicality making even the biggest group numbers easy to understand. There were moments when the ensemble gave me chills simply because they sounded that good.

And the dancing is equally impressive. Choreographer Emily Henwood makes excellent use of the cast, particularly in “King of New York,” which showcases some terrific tap dancing and energetic choreography. The younger Newsies are especially fun to watch, bringing an infectious enthusiasm to the stage.

The production also makes particularly effective use of West Valley Arts’ theater-in-the-round configuration. The three elevated platforms surrounding the stage become an important part of the storytelling rather than simply another level of scenery. One of the strongest examples comes during “Once and for All,” when the production spotlights the three platforms as the newsies sing about the broader Children’s Crusade. Each platform becomes a different snapshot of the people they are fighting for, transforming the song from a story about striking newspaper boys into something much larger. It is a simple but powerful choice.

Even Pulitzer’s office, positioned on one of the upper platforms, becomes a visual reminder of his power as he literally looks down on the Newsies.

The casting is another strength. There is an appealing ragtag quality to this group, and the production makes some unexpected casting choices that give the Newsies a wonderfully authentic sense of individuality.

Jerdyn Akeripa makes Jack a convincing leader of the paper brigade. He immediately feels at home onstage, bringing just the right combination of scrappiness and charm to the role. His performance of “Santa Fe” is particularly strong, with a spectacular final stretch that demonstrates both his vocal ability and charisma. Akeripa has the kind of stage presence that makes you think, “I’ll buy whatever he’s selling.”

His chemistry with Ashtyn Roskelley’s Katherine also makes the romance believable. Roskelley takes a somewhat understated approach to Katherine, and it works. She has a gorgeous voice, with a sweetness balanced by enough gravitas to give her character substance. “Watch What Happens” demonstrates just how strong a vocalist she is, particularly in navigating the song’s syncopated rhythms.

Unfortunately, the direction of that number works against her. Katherine begins on the upper platform with her desk and typewriter, where she is clearly visible to the entire audience. About a quarter of the way through the song, she comes down to the main stage, and I expected the number to open up and allow her to take ownership of the space. Instead, she spends the remainder of the song confined to a corner, with her back toward a significant portion of the audience and partially obscured for others. It is a frustrating choice because Roskelley has the talent to command the entire stage if given the space to shine. Or alternatively, stage the entire number on the balcony where she is more visible instead of trapped on the corner of the main stage. 

“Something to Believe In” also features a beautiful vocal from Roskelley, with Akeripa joining her effectively. Unfortunately, the balance of the sound mix made it difficult to hear Roskelley for much of the number. That was particularly disappointing because it should be one of the evening’s most intimate and memorable moments.

Prior West Valley Arts productions struggled with sound in the past, so it is worth noting that the first half of this production had some of the best sound I’ve ever heard at WVA. Vocals were clear, ensemble numbers were balanced and the cast sounded fantastic.

The second half, however, was much more inconsistent. Several ensemble numbers and soloists seemed to disappear in the mix and become significantly muted. There were dropped microphones, and Teddy Roosevelt delivered his entire speech without amplification. The contrast between the two halves was noticeable.

Bryn Campbell brings a fierce, dynamic energy to Spot Conlon, particularly as she leads the Brooklyn Newsies. The visual choice of having the Brooklyn band filled with girls in skirts is unexpected, fun and gives this group its own identity.

Roman Curiel is a strong Davey, including some impressive dancing and high kicks, and his harmonies with Akeripa in “Seize the Day” are excellent. Sebastian Long is utterly charming as Les, earning some of the biggest audience affection of the evening. Taylor Smith brings the appropriate authority to Pulitzer and as always, showcases his powerful vocal capability. Each member of the Newsies individually delivers standout performances. They each had so much loveable charm and filled their roles so very well.

The production’s heart is perhaps best represented by Trey McEvoy’s Crutchie. McEvoy plays him with such earnestness and commitment it is impossible to not become invested in Crutchie’s journey. McEvoy’s scenes at the refuge are heartbreaking, and his big emotional moment had me crying like a baby. McEvoy makes Crutchie feel like the underdog you desperately want to see win.

However, the direction of his final scene at The Refuge is frustrating. As Crutchie lays center stage on his bed, the moment belongs to him. The subsequent interaction with Snyder becomes so visually prominent it pulls focus away from an emotional spotlight on Crutchie. A simpler staging choice—a single spot allowing McEvoy to own that moment—would make it considerably more powerful.

There are other moments where the production’s bold choices don’t quite land. “Once and for All” is arguably the vocal climax of the entire show, and this cast sounds superb as the music builds toward its enormous conclusion. Unfortunately, adding flips and acrobatic tricks during that musical pinnacle became a distraction. The tricks themselves are impressive, but they distract in that particular moment from the emotional build up of the music.

When this cast comes together—particularly in those enormous ensemble numbers—the result is undeniably exhilarating. With some corrections to the occasional quirky staging choices and second-half sound issues, this production has high potential.

At its best, this Newsies is exactly what the musical should be: energetic, heartfelt and full of performers who make you want to stand alongside them and shout, “Seize the day!”

These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.