Review: FIRST DAUGHTER SUITE At Creekside Theatre Fest Is Profound

The U.S. semi-professional premiere of FIRST DAUGHTER SUITE, now playing in Pleasant Grove, is currently the only production of the musical anywhere in the world.  Presented by Creekside Theatre Fest in Liahona Preparatory Academy’s black box theatre, it offers profound snapshots of the lives of several first families of the U.S. from the past 50 years.

FIRST DAUGHTER SUITE by Michael John LaChiusa premiered off Broadway at The Public Theater in 2015.  The largely sung-through chamber musical is billed as “a historical fantasia in four parts” with each act divided into two standalone musical sequences.  The show delves into the private relationships between first ladies and their daughters, telling contrasting but always deeply personal stories meant to be representative of the Nixons, Fords, Carters, Reagans, and Bushes.

Director Jayne Luke has deftly and effectively guided the staging and performances while also showcasing her professional acting experience as Barbara Bush.

As a whole, every single role is well-acted, the cast drawing out pathos for each character, along with moments of levity.  Especially worthy of mention are Andrea Chapman’s Laura Bush and Katie Rowley’s Patti Davis.  Both appear in Act II and are virtually unrecognizable from the Act I parts played by the same women--mother/daughter Patricia and Tricia Nixon, respectively.

All are worthy of praise, including Merilee Van Wagenen as Nancy Reagan, Allison Books as Rosalyn Carter, Addie Wray Scott as Julie Nixon, Joleah Long as Susan Ford, Isabella Ford as Amy Carter, Mary Jane Smith as Hannah Milhous Nixon/Robin Bush, and Heidi Mendez Harrison as Betty Ford/Anita Castelo. 

It must be noted, however, that the complex score is exceptionally difficult to sing.  Consequently, the cast lacks pitch-perfect precision across the board despite their nice singing voices, resulting in muddy melodies and a less pleasurable listening experience than professional performers would have afforded. 

The costume design is credited to the cast members themselves, who should be commended for the cohesiveness and period accuracy of their selected pieces.  The set design by Brian Hadfield and lighting by Zac Bringhurst are simple yet sufficiently substantial.

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