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    Broadway at Its Finest

    The Book of Mormon national tour lives up to stellar reputation

    Alex Bentley
    Aug 23, 2013 | 1:09 pm

    There are some musicals that impress you with their stagecraft, choreography and singing abilities of its actors. The Book of Mormon, which just started its run at Winspear Opera House (playing through September 1), is not such a musical.

    That’s not to say that any of those elements in the Tony Award winner are deficient in any way. But the primary goal of the production, written by Matt Stone and Trey Parker (South Park) and Robert Lopez (Avenue Q), is to be funny, and, paradoxically, the hilarity the sets, dancing and songs create can overshadow the skills needed to create it.

    On the surface, The Book of Mormon can seem like a screed toward the Mormon religion. It follows two young and naïve Mormon missionaries, Elder Kevin Price (Mark Evans) and Elder Arnold Cunningham (Christopher John O’Neill), as they attempt to spread the word of God to Ugandan villagers.

    Several of the songs take direct aim at various off-the-wall theology Mormons have taught through the years.

    As they run into difficulties getting the Ugandans to buy into their proselytizing, they both have crises of faith, but in distinctly different manners.

    How each of them deals with their predicaments — Kevin by spiraling downward, Arnold by reverting to lying — is the main thrust of the musical, and the source of some insanely catchy, provocative and surprisingly sweet songs.

    Several of the songs, like “Turn It Off,” “All American Prophet” and “I Believe,” take direct aim at various off-the-wall theology Mormons have taught through the years. But the key to making those songs work is that they never make fun of the characters doing the singing, keeping them completely relatable.

    It’s “I Believe” that drives home this point the best. It’s a last ditch effort for Elder Price to salvage the beliefs he’s held his entire life. And while the song is funny because of lines like “I believe that ancient Jews built boats and sailed to America” and “I believe that in 1978 God changed his mind about black people,” it also tugs at the heart because of Elder Price’s earnestness.

    Given its creators, it’s no surprise that the proceedings get more than a little profane, mostly from the Ugandan characters. It starts with “Hasa Diga Eebowai,” a crowd-pleasing yet hate-filled song aimed at God. Then there’s the local warlord, a man who dubs himself “General Butt-fucking Naked.” “Joseph Smith American Moses,” in which the Ugandans show all that they have learned from Arnold, takes everything that came before it and turns the dial to 11.

    But it’s “Baptize Me” that may be the best song in the context of the play (the opening number, “Hello,” is hands-down the most memorable). That’s because it hits the mark in terms of both sweetness and raunchiness. It’s about Arnold baptizing Nabalungi (Samantha Marie Ware), but the allusions to sex are unmistakable, especially with various intonations and dance moves.

    The choreography in The Book of Mormon won’t win any awards — it was one of the few Tony Awards the musical didn’t win — but it’s clear that they’re not going for style points. Every move seems designed to elicit laughs, including numbers that contain references to classic Broadway dance moves. The character of Arnold is especially clumsy, and O’Neill is a delight to watch as he awkwardly-on-purpose stumbles, slides and grinds his way through the songs.

    The sets and backdrops are equally unremarkable. Most of them are utilitarian at best, but the choreography and set-up for most scenes don’t require them to be anything more than that. I will say that the backdrops showing Salt Lake City and Orlando are great for the detailed artwork, even if they’re not actually designed to transport you to those places.

    The one area where it is the equal of any other musical is in the quality of its singers. Evans and Ware both have fantastic voices, no surprise given their respective histories in the theater. O’Neill is making his professional debut in this show, and he more than holds his own.

    All of this is a long-winded way to say that this version of the national tour of The Book of Mormon only builds on the reputation that the musical already had. If you already have tickets, don’t even think about not using them. If you haven’t secured any yet, do anything in your power to get some. Calling it a must-see is the understatement of the century.

    Mark Evans and Derrick Williams in The Book of Mormon.

    Book of Mormon
      
    Photo courtesy of AT&T Performing Arts Center
    Mark Evans and Derrick Williams in The Book of Mormon.
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    Football for Footlights

    Dallas Cowboys player debuts on Broadway before heading to Texas

    Lindsey Wilson
    Jun 16, 2025 | 1:57 pm
    Solomon Thomas MJ The Musical
    Photo by Andy Henderson
    Solomon Thomas onstage at the Neil Simon Theatre in New York City.

    Before he hits the field for the Dallas Cowboys’ 2025 season, NFL veteran Solomon Thomas took a final bow in New York City — not at MetLife Stadium, but on Broadway.

    Earlier this year, Thomas signed a two-year, $8 million contract with the Cowboys after three seasons with the New York Jets. But before heading to Oxnard, California, for training camp with the 'Boys in July, he gave the Big Apple a dramatic farewell befitting a true Broadway fan.

    On June 13, Thomas made his Broadway debut in MJ the Musical, appearing for one night only in a special cameo role. The hit show, which celebrates the life and career of Michael Jackson, has long been a favorite of Thomas', who’s seen it six times.

    “I cannot think of a better way to celebrate my time in New York than by making my Broadway debut!” Thomas shared in a statement ahead of the performance. “I am so grateful to MJ for making this dream come true and for the support over the past few years. It’s truly an honor to be able to witness the greatness of these performers. I hope to see everyone at the Neil Simon Theatre on June 13!”

    Solomon Thomas outside MJ The MusicalSolomon Thomas outside "MJ The Musical" at the Neil Simon Theatre.Photo by Andy Henderson

    Thomas famously brought nearly a dozen teammates to see MJ, a moment featured in an episode of HBO’s Hard Knocks. He has also served as a CBS theater correspondent and presented at the 2024 Tony Awards.

    Thomas' special cameo is reminiscent of when Supreme Court Justice Ketanji Brown Jackson made her Broadway debut in late 2024 with a walk-on role in the hit jukebox musical & Juliet at the Stephen Sondheim Theatre.

    “Solly has been such a great supporter and friend of Broadway and our show,” said MJ producer Lia Vollack in the statement. “We couldn’t think of a better way to thank him for his time in New York: giving him his Broadway debut!”

    MJ the Musical opened in 2021 and focuses on the creative process behind Michael Jackson’s 1992 Dangerous World Tour. With a book by two-time Pulitzer Prize winner Lynn Nottage and direction and choreography by Tony Award winner Christopher Wheeldon, the show blends dazzling spectacle with emotional depth. It earned four 2022 Tony Awards, including Best Choreography, Lighting Design, and Sound Design in a Musical.

    The current Broadway cast stars Elijah Rhea Johnson, who made his Broadway debut in the show in April 2023. Johnson was involved in the development of the role as “Middle Michael” and succeeded original star Myles Frost, who made history in 2022 as the youngest performer ever to win the Tony for Best Leading Actor in a Musical.

    The national tour of MJ recently stopped at Fort Worth’s Bass Hall in May as part of the 2024–25 Broadway at the Bass season. Other productions are currently running in London, Hamburg, and Sydney.

    Solomon Thomas MJ The MusicalThomas in his Broadway dressing room.Photo by Andy Henderson

    Solomon Thomas MJ The Musical
      

    Photo by Andy Henderson

    Solomon Thomas onstage at the Neil Simon Theatre in New York City.

    While Thomas is known now for both football and footlights, his off-the-field work continues to make a difference. He co-founded the nonprofit The Defensive Line with his parents in honor of his sister Ella, who died by suicide in 2018. Now in his ninth NFL season, the three-time Walter Payton Man of the Year nominee works to end the epidemic of youth suicide, especially among young people of color, by promoting open, honest conversations around mental health.

    As Thomas trades curtain calls for play calls, there’s no doubt he’ll bring the same heart and presence to the Cowboys locker room that he brought to the Broadway stage. And here's hoping the Dallas Cowboys Cheerleaders don't mind sharing the spotlight with Broadway's newest star.

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