Rob Shelton | American Fork Citizen

Before “Been There, Done That” hits shelves nationwide, North Utah County residents get the first crack at it and a front-row seat to the man who wrote it.

Professor Greg Jackson brings his new book to the Lehi City Library before its big New York debut. On Saturday, June 13, Jackson will perform a live presentation and early signing event starting at 6:30 p.m. at the Lehi City Library. Signed copies go on sale at the event that night, three days before the official June 16 release date. Registration is required and free, but only 168 seats are still available as of this week.

It’s the kind of event libraries were built for. Not a dry lecture, not a panel of academics trading footnotes. The promotional description cuts right to it: “This isn’t a lecture. It’s history — LIVE.”

After the Lehi event, Jackson will be traveling to New York, Boston, Washington, D.C., and San Francisco as the book hits the national stage.

The book’s argument

The premise of “Been There, Done That: How Our History Shows What We Can Overcome” is deceptively simple. Everything that feels new and terrifying about American politics right now, the partisan rage, the contested elections, the political violence, the disinformation, has happened before. More than once. And the country survived it.

That’s not a comforting platitude. Jackson backs it up chapter by chapter with the kind of historical specificity that makes the argument stick. He’s not asking readers to feel better. He’s asking them to pay closer attention to what actually happened.

Jackson built his platform through “History That Doesn’t Suck,” a podcast and educational brand that turned dense American history into something people actually wanted to consume. He brings that same instinct to the page here, the sense that history, told honestly and with some narrative drive, doesn’t need to be sanitized to be compelling. If anything, the dirt is the point.

The book arrives in a year loaded with symbolic weight. As Jackson notes in the opening pages, it’s been exactly 250 years since the Second Continental Congress voted to stake “their lives, their Fortunes and their sacred Honor” on American independence. The anniversary invites reflection. Jackson’s reflection, characteristically, goes straight to the uncomfortable parts.

Where it starts: Ben Franklin, fake news pioneer

The introduction opens not with a speech or a battle, but with a blunder and what one of the country’s founding fathers did to cover it up.

In April 1782, Benjamin Franklin sat across from British peace negotiator Richard Oswald in Paris. The two were working toward what would eventually become the Treaty of Paris, and Franklin, six years into his role as U.S. foreign minister to France, made a rookie mistake. He handed Oswald a page of personal notes that acknowledged, however obliquely, that American patriots had themselves seized property from Loyalists during the war. Not good.
Franklin’s solution was audacious. Back at his private printing press at the Hôtel de Valentinois outside Paris, he fabricated an entire fake newspaper, a “Supplement to the Boston Independent Chronicle”, complete with a horrifying fictional account of British-backed Native American scalping raids, fake advertisements for Massachusetts land parcels and a fabricated letter attributed to naval hero John Paul Jones.

The typefaces were French. The issue number and backdated publication date were chosen to make the crossing from Boston to Paris seem plausible. Franklin even enclosed copies to colleagues with letters expressing “some doubt” about the supplement’s claims, a wink that made the whole thing feel more credible, not less.

It worked well enough to get republished in some British newspapers.

The point Jackson makes isn’t that Franklin was a villain. It’s that the man on the $100 bill, statesman, diplomat, inventor, “First American”, ran a deliberate disinformation campaign to tilt peace negotiations in America’s favor. And he did it while a debt-ridden Congress struggled to pay its bills and the American experiment teetered on the edge of collapse.

Sound familiar? Jackson is betting it does.

Eight chapters of evidence

The book doesn’t lean on the Franklin story and coast. Jackson structures the rest of the narrative around eight historical case studies, each chosen to rhyme with something readers will recognize from the present day.

The Baltimore Riots of 1812 get their own chapter. So does the savage caning of Massachusetts Sen. Charles Sumner on the floor of the U.S. Senate in 1856, a moment of political violence so extreme that Sumner couldn’t return to his seat for three years, yet South Carolina celebrated his attacker as a hero and sent him back to Congress with an engraved cane reading “Hit Him Again.”

Then there’s the election of 1824 and its rematch in 1828, a campaign so vicious that opponents publicly called John Quincy Adams a pimp and labeled Andrew Jackson the son of a prostitute. The chapter title doesn’t soften it. Neither does Jackson.

The section on overlapping crises in the 1860s covers the first presidential assassination and the first presidential impeachment in the same chapter, because they occurred within a compressed window of American history, stacked on top of each other like disasters competing for attention.

The election of 1876 gets labeled what historians have long called it: “The Fraud of the Century.” And yellow journalism, the 19th-century media practice of printing sensationalized, often fabricated stories to drive circulation and stoke public outrage, closes out the case studies with a chapter that needs little translation for modern readers.

Each story is specific. Each one is documented. And each one, Jackson argues, eventually gave way to something better, not easily, not quickly, but genuinely.

Why this book, why now

Jackson doesn’t pretend the current moment is easy. He’s not writing a feel-good history. In the introduction, he acknowledges that the Digital Age has given us tools for disinformation that Ben Franklin couldn’t have dreamed of, that social media algorithms are optimized to harvest outrage, that trust in institutions is genuinely low, and that the reasons for that distrust are real.

But he draws a distinction between acknowledging difficulty and catastrophizing it. His two central arguments are that today’s claims of “unprecedented times” are, at best, grossly overstated and that the United States has consistently proven more durable than the moment of crisis would suggest.

“Americans are made of sterner stuff than we realize,” he writes. The historical record, he insists, doesn’t just illustrate that point. It offers a roadmap.

The Lehi event

The June 13 presentation runs from 6:30 to 7:30 p.m. at the Lehi City Library, 120 N. Center St. The event is free, open to adults and requires registration. Groups of up to six people can register together.

Early access to signed copies of “Been There, Done That” will be available the night of the event, ahead of the book’s official nationwide release on June 16 through Simon & Schuster.
For a community that’s watched its civic footprint grow rapidly over the past decade, there’s something fitting about a book like this landing in Lehi first. Jackson’s argument is ultimately about civic endurance, about what happens when institutions are stressed and people still show up. The library event is, in its own small way, a demonstration of exactly that.
Registration is open at lehicity.libcal.com/event/16740332.

Brynn Carnesecca | American Fork Citizen

For the last year and a half, The Ruth has brought world-class theater to the heart of Utah County. The theater moved from its original location in Orem and is now centered in Pleasant Grove off I-15. The theater announced its 2027 lineup this week, and it’s sure to be a theatrical joy.

Dear Evan Hansen: February 8-March 20 in the Smith Grand Theater

This Tony Award-winning musical follows Evan Hansen, a high school boy caught in a lie as he navigates his mental health. With music from the team behind “The Greatest Showman,” the show delivers this message: you will be found.

The 39 Steps: February 22-April 24 in the Lindsay Legacy Theater

Experience the classic spy thriller featuring Richard Hannay, made famous by Hitchcock’s film and novel. This larger-than-life comedy delivers fast-paced action, quick-changing actors and nonstop entertainment in a spy-filled adventure.

Shrek the Musical: April 19-May 22 in the Smith Grand Theater

Enjoy this family-friendly musical as Shrek, Donkey, Fiona and Lord Farquaad take a magical journey packed with laughs, catchy songs and beloved moments for all ages.

The 25th Annual Putnam County Spelling Bee: May 17-July 24 in the Lindsay Legacy Theater

Six students. Awkward moments. One chaotic spelling bee. Find your new favorite musical next Spring as the young spellers compete and find themselves. Bring your spelling skills—audience participation is a highlight of this wild show.

Oklahoma: June 28-August 7 in the Smith Grand Theater

Rodgers and Hammerstein’s “Oklahoma” brings Curly, Laurey, and their colorful companions to the stage for a tale of frontier rivalry, romance and classic songs.

Wait Until Dark: August 16-October 30 in the Lindsay Legacy Theater

This Halloween thriller follows blind Suzy Hendrix as she defends her New York home from three criminals. Expect surprises and suspense throughout.

42nd Street: August 30-October 9 in the Smith Grand Theater

Peggy Sawyer, a young chorus girl, gets her big break to shine on stage in this classic musical. With splashy songs, fun characters, and incredible dancing, watch a rising star make her mark on Broadway.

The Little Mermaid: November 8-December 31

Dive deep underneath the sea to revisit the story of Ariel like never before. See the world below the ocean’s surface spring to life on The Ruth’s stage. This Disney classic will sweep you off your feet and make you become part of Ariel’s world.

A Christmas Carol: November 22-December 23

This beloved yuletide classic follows Ebenezer Scrooge as he finds love, kindness and Christmas spirit. The 38th annual production may become your favorite tradition.

Season ticket renewals will be available July 6, with other packages and single tickets available later in the year. For more information, visit http://www.theruth.org.

Brynn Carnesecca| American Fork Citizen

It’s hard to recapture the magic that made the classic 1939 “The Wizard of Oz” film a cultural touchstone. Somehow, The Ruth’s production reinvented the timeless story into a show so lovable it had me smiling from ear to ear.

Based on the books by L. Frank Baum and the MGM mega-movie, “The Wizard of Oz” tells the story of Dorothy Gale. The young farmgirl has her world turned upside down when her house is caught in a twister that takes her to the magical land of Oz. Along the way, Dorothy meets new friends, faces her fears and discovers there really is no place like home.

Madeline Clifford carries a bulk of the show as Dorothy. Her interpretation captured the innocence of Dorothy with a fresh spin. Her singing was top-notch, particularly her version of “Somewhere Over The Rainbow.”

Her iconic crew is made up of Geoff Reynolds as Zeke/Lion, Collin Larsen as Hickory/Tinman, and Logan Neville as Hunk/Scarecrow. The quartet brings the classic characters to life with charm and talent.

Each actor fully embraced their part with everything from strong vocals to creative physicality, such as Neville’s constant stumbling with his “straw” legs.

Michelle Blake plays a sweet Aunt Em/Glinda, Marshall Lamm embodies the caring Uncle Henry/Guard, Stephen Kerr captures the audience as Professor Marvel/Wizard, and Shaunna Thompson gives a terrifying performance as Gulch/Witch.

One of my favorite elements of the production was Toto, puppeteered by Brigham Kerr. The adorable puppet paraded around the stage and felt like a living dog. In every moment of the show, I couldn’t help watching his eyebrows move and tail wag.

The ensemble was exceptionally strong. “The Wizard of Oz” isn’t particularly known as a dance-heavy show, but the choreography by Eric Sciotto really understood the source material. “Munchkin Sequence,” “Merry Old Land of Oz” and “Jitterbug” are some of the strongest numbers thanks to the high energy of the cast. I was enchanted by their Charleston, cartwheels and impressive combos.

The special effects were another standout in the show. My favorites included the “snow” that came down during the poppies sequence, the giant puppet head for the wizard, the monkeys flying above the audience, and Glinda’s iconic bubble.

Lexi Goldsberry’s costumes were another incredible element. The ensemble had fun and whimsical looks in every new location. The flower hats on the munchkins were enough to make the audience giggle with delight.

“The Wizard of Oz” is one of the sweetest nights of theater I’ve had in a long time. The show was emotional, fun and beautiful from start to finish. If you want to revisit a classic tale, this production is for you. “The Wizard of Oz” runs until May 23 with nightly performances at 7:30 p.m. and various matinees. For more information or to buy tickets, visit http://www.theruth.org.

This reviewer saw the show with its Monday/Wednesday/Friday cast.

Brynn Carnesecca | American Fork Citizen

Fork Fest is back for another summer show. The popular music festival has put American Fork on the map for live music and community. This summer will be jam-packed with artists, vendors, food and, of course, music.

This year’s festival will be headlined by Neon Trees. The juggernaut band had humble origins in Provo and has since become a household name. Other highlight performers for this year include Joshua James, Fictionist and Parlor Hawk.

The two-day festival will have 32 bands in total with three stages. Two large concert stages and an acoustic forest stage will be ready to welcome Utah’s local musicians.

According to forkfest.org, the festival features numerous attractions with food trucks, art installations, a hammock hangout, bounce houses, and a vendor village with booths highlighting local artisans and craftsmen.

Fork Fest is put on by Harrington Center for the Arts and is made possible by the American Fork PARC tax. The festival will run June 12 and 13 at Mary & Art Dye Park in American Fork. Tickets can be purchased online at www.forkfest.org. Children 11 and under get a free ticket with a paying adult. Follow @forkfestmusic on Instagram and Facebook for additional information.

Brynn Carnesecca | American Fork Citizen

This spring, Timpanogos Arts Foundation (TAF) brought a new world to life on stage. Their production of “The Fantasticks” managed to leave me thinking and wondering long after the lights went out.

“The Fantasticks” is part “Romeo and Juliet,” part “Into the Woods” and part “Cabaret.” The show follows the story of Matt and Luisa, lovers who fall for each other due to their parents’ meddling. With a typical theatrical first act, the second act subverts all expectations and leaves the audience wondering what we want from life and love.

The cast was led by Will Gardner as the mysterious and morally ambiguous El Gallo. After seeing Gardner in numerous productions throughout the valley, I can confidently say that he is a treasure in the theater community. He manages to pull the attention in whatever show he is in, convincingly portraying any character he is cast as. El Gallo is no different. Gardner controlled the stage with charisma and a surprising sense of warmth and emotion. I was nearly brought to tears during his September-themed monologue and had chills during the opening number, “Try to Remember.”

Brynn Hartley shines as Luisa, the lovesick girl who discovers what it truly means to care about someone. Her soaring soprano voice balanced out the male-heavy songs, and her character arc was undoubtedly convincing. She was joined by Jensen Bean as Matt, the college student who begins to see the world for what it truly is. He was a strong partner for Hartley, showing a unique chemistry that carries much of the show.

The cast was rounded out with Scott Mason as the eccentric Hucklebee, Wayne Keller III as the sassy Bellomy, Justin Anderson as the world-renowned Henry, Eliza Stevenson as the chaotic Mortimer, and Addilynn Bowler as the devious Mute. Each cast member was unique and hilarious, shining in their own ways. Anderson especially impressed me with comedic timing that was off the scale, enchanting me and leaving me curious as to his true identity.

The scenic and lighting design by Caleb Wallengren was another one of my favorite elements. Incandescent lightbulbs hung from the ceiling, illuminating the stage as stars in different scenes. In the first act, the stage felt like a warm hug, while in the second act, it felt like a barren desert. With an intentionally minimal set, Wallengren made sure the story took center stage.

Live music also aided the entire production. The simple orchestrations, with Kimberly Harolds on piano and Kari Rundlett on the harp, were surprisingly sweet and, at times, sobering. The famous score by Harvey Schmidt was done justice in every number.

More than anything, this production made me think. It’s not a typical “Utah” show. There were no flashy, Disney-esque musical numbers or morals wrapped up in a neat bow. Instead, “The Fantasticks” invites the audience to ponder the moments we take for granted, why we choose to love and how we can keep the magic going even in our darkest moments.

TAF’s production feels like exactly what we need in 2026. In the midst of chaos, we need to choose love and choose not to look away from the struggles of others. I, for one, am thankful to TAF for giving me a unique evening of theater unlike anything I’ve ever experienced.

Though their production of “The Fantasticks” has come to a close, TAF has more shows in the works. To see what else they have in store for the 2026 season, visit www.timparts.com.

STAFF WRITER | American Fork Citizen

Utah Metropolitan Ballet (UMB), Utah Valley’s professional ballet company, founded and directed by Jacqueline Colledge, announces its 2026 production of Tribute. For two nights only, Tribute will bring classical, neoclassical, and contemporary works to the Covey Center for the Arts in Provo. The show will be on April 23-24 at 7:00 p.m.

Tribute is a UMB tradition. Every year, the company presents a performance that honors outstanding members of the community for their contributions and hours of compassionate service. This year the company honors the following individuals: Tom Holdman, glass artist who has created art for over 150 temples for The Church of Jesus Christ of Latter-day Saints; Angela Johnson, sculptor known for creating the world’s largest sculptural collection of Jesus Christ, Light of the World Garden; Hilary Weeks, songwriter and recording artist of 14 albums; and the late Ariel Bybee, accomplished opera singer who performed in over 18 consecutive seasons at The Met in New York City and is the namesake for the Ariel Bybee Endowment at the Center for Latter-day Saint Arts.

For this season of Tribute, UMB teamed up with the Center for Latter-day Saint Arts to hire well-known international choreographer Vanessa Cook. Cook won the 2025 Ariel Bybee Endowment Prize and her new contemporary ballet, called A Brief Collection of Moments, will debut at Tribute. The dance is set to original music by composer Dylan Findley and includes live singing by soprano Rachel Porter. Cook’s choreography is highlighted by original art made by Michelle Nixon and Justin Wheatley.

About her experience working with UMB, Cook said, “Jacqueline Colledge has been incredibly supportive in this project. I really value [her] presence and her discussion with me to really find out my vision.”

“Working with the Center for Latter-day Saint Arts has given UMB new international attention,” Colledge said. “Working with Cook has been a great chance for our dancers to learn a style of movement that is different from classical ballet.”

Along with A Brief Collection of Moments, the show will include Cortex, choreographed by Heather Gray; Simply Sibelius, choreographed by Brittnee Squires; and Peasant Pas de Deux from Giselle. Dancers from Utah Metropolitan II will perform Walk, a piece by Heather Gray that recently won first place in the Ensemble Works category at the Youth America Grand Prix Semi-finals and was selected for performance at the Youth America Grand Prix Finals in Houston, Texas.

The Utah Metropolitan Ballet Orchestra, led by Marcel Bowman, will play live music for A Brief Collection of Moments, Peasant Pas De Deux, and Simply Sibelius. Simply Sibelius will include a violin solo by Rosalie Macmillan.

UMB’s work with the Center for Latter-day Saint Arts gives both dancers and audience members a special opportunity to experience a wide range of art as we celebrate creativity in the Utah Valley community.

Note that the honorees will be recognized during the show on Thursday, April 23. Tickets start at $31 and are available at https://www.umballet.org/tribute1, or through the Covey Center website.

Ryann Anderegg | American Fork Citizen

For two decades, the Wasatch Winds Symphonic Band has provided a place where music doesn’t have to end after high school or college; it can grow, evolve and continue to bring people together. On May 4, the community band will celebrate its 20th anniversary with a special concert paying tribute to its beginnings by recreating the exact program performed at its first concert in 2006.

The performance will take place at 7 p.m. at the American Fork High School Auditorium, inviting community members to reflect on the group’s legacy while enjoying an evening of live music.

Wasatch Winds, founded in 2006 by longtime music educator John Miller and Jermie Arnold, was created to address a gap Miller had observed throughout his career. Many talented musicians often stopped playing after graduation. While some continued into college ensembles, many set their instruments aside permanently.

“It is always a shame when our students graduate from our high school programs and put away their instruments, never to be played again,” Miller said. “As music educators, we must do more to encourage and provide continued performance opportunities.”

That vision led to the formation of one of Utah County’s most prominent community bands. Today, Wasatch Winds includes approximately 70 musicians from a wide range of backgrounds  — teachers, doctors, retirees, and professionals — who come together not for a career, but for the love of music. The anniversary concert reflects that journey by returning to where it all began.

“Twenty years ago, we started with a challenging and entertaining program,” Miller said. “After years of concerts, we felt it would be a nice tribute to our founding roots to perform the same program we started with.”

Since that first performance, the band has remained active and consistent, presenting four to five concerts each year. Over the past two decades, members have collectively performed an impressive 638 works, highlighting both their dedication and longevity.

While the music itself is central, the experience of being part of Wasatch Winds extends far beyond rehearsals and performances. For many members, the band represents a return to something meaningful that might otherwise have been lost.

“After concerts or rehearsals, many members thank me for providing this opportunity to continue playing their instruments,” Miller said.

Five original members are still performing with the group today as the band continues to evolve, with new musicians joining while others move on. The Wasatch Winds mission has remained steady: to provide a welcoming, high-quality musical experience for adult performers.

Wasatch Winds also plays an important role in the broader arts community. While Utah County is home to orchestras, youth symphonies and other performing groups, Miller noted that community bands, particularly those focused on wind and percussion instruments, have historically been less common.

“In Utah County, the Wasatch Winds Symphonic Band is the largest ensemble for adult musicians seeking a full band experience,” he said.

That presence reflects a revival of an older tradition. In earlier eras, community bands were a staple of towns across Utah, providing entertainment and fostering local pride. Over time, many of those groups disappeared, but organizations like Wasatch Winds are helping to restore that tradition.

“The Wasatch Winds is not a professional group, though a listener may think so after a first listen,” Miller said.

The upcoming anniversary concert is expected to draw both longtime supporters and new attendees, offering a chance to celebrate not only the band’s history but also the role of music in bringing communities together.

Admission to the concert is donation-based, with proceeds supporting the continuation of live community music. Contributions can be made at the door or online, helping ensure that the band can continue its mission for years to come.

Wasatch Winds shows no signs of slowing down. Interest in the group continues to grow, with some instrument sections even maintaining waiting lists for prospective members. Miller said the organization is exploring adding a second band to accommodate more musicians.

“We are always looking for performance opportunities to share our love of music with as many people as we can,” he said.

The Wasatch Winds’ impact is evident in the music it produces and the connections it fosters, even after three decades of performing. For members, it offers a chance to rediscover a passion. For audiences, it provides accessible, high-quality performances. And for the community, it stands as a reminder that the arts remain a vital and unifying force, and of music’s enduring power to bring people together, generation after generation.

April Slaughter | American Fork Citizen

A new laser show in Pleasant Grove is blending the global popularity of k-pop with the immersive visual technology of a planetarium dome.

The program, titled “KPop Laser Hunters,” is being presented at the Christa McAuliffe Space Center. The show pairs high‑energy K‑pop music with synchronized laser projections that sweep across the dome ceiling, creating an experience that surrounds audiences with moving light and animation timed to the music.

Laser shows have long been a staple of planetariums, combining music with specialized projection systems that fill a curved dome with beams of colored light, geometric patterns and animated imagery synchronized with a soundtrack.

Located in Pleasant Grove inside Central Elementary School, the Christa McAuliffe Space Center is operated by Alpine School District and serves as an educational facility focused on space science and simulation‑based learning. Named for teacher and astronaut Christa McAuliffe, the center offers students and visitors immersive experiences designed to teach astronomy, physics and space exploration concepts.

In addition to its educational missions and simulations, the center periodically hosts special public events and shows in its planetarium theater, including themed laser light programs set to popular music.

During the k-pop program, lasers sweep across the dome to create animated imagery that moves with the rhythm of the music. The shifting patterns and beams of light can create the illusion that visuals are traveling through space overhead, filling the audience’s entire field of view.

The show draws inspiration from the animated musical film “KPop Demon Hunters,” which follows a fictional k-pop girl group that secretly battles supernatural forces while maintaining their lives as global pop stars.

Interest in the film’s music surged again this week after its signature song, “Golden,” won the Academy Award for Best Original Song at the 98th Academy Awards on March 15. The win marked the first time a K‑pop song has received the Oscar in that category.

The song is performed in the film by vocalists EJAE, Audrey Nuna and Rei Ami as the fictional group HUNTR/X. Released as part of the film’s soundtrack, “Golden” became an international hit and helped bring the movie’s music to global audiences.

Planetarium laser shows first gained popularity decades ago when venues began pairing music with laser graphics projected onto dome ceilings. Classic programs often feature rock albums such as Pink Floyd’s “Dark Side of the Moon,” which remains one of the most widely recognized laser shows performed in planetariums around the world.

In recent years, many venues have expanded their offerings beyond classic rock to include contemporary genres to attract younger audiences.

The k-pop laser show reflects that shift, bringing one of the world’s most popular music genres into a venue traditionally associated with science education.

K-pop, short for Korean pop music, has grown into a global entertainment industry over the past two decades, blending pop, hip‑hop and electronic influences with elaborate choreography and stylized visual production.

While the laser show is designed primarily as an entertainment experience, it also highlights the projection technology used in modern planetarium theaters. The dome environment allows imagery and light effects to fill the audience’s field of vision, creating a fully immersive visual experience.

For fans of k-pop, the show offers a new way to experience the genre, where music, animation and laser light move across the simulated night sky of a planetarium dome.

For information about upcoming shows, tickets and events at the Christa McAuliffe Space Center, visit the center’s official website, spacecenterutah.org.

Megan Wallgren | American Fork Citizen

Three students from American Fork High School are among this year’s award winners at the 54th Annual Utah All-State High School Art Show, currently on display at the Springville Museum of Art. McKinley Clements, Evie Cardon, and Claire Elggren earned prestigious statewide recognition for their artwork in the highest level of competition for high school artists in Utah.

Clements received a Third Congressional District Honorable Mention for her oil-on-canvas painting “Untitled (Southwest).” Cardon earned the Artist Nosh Award for her colored pencil piece “My Freckles,” while Elggren was selected for the highly competitive JKR Academy Award for her oil-on-board painting “Enlightenment.” Each honor places the students among Utah’s top emerging young artists.

This year’s show includes 352 artworks chosen from 1,073 submissions, representing 109 Utah high schools, and showcasing exceptional student talent in painting, drawing, sculpture, ceramics, photography and mixed media. With no set theme, the exhibition highlights each artist’s unique voice and creative vision.

“There’s nothing else like this for high school artists in Utah,” said Jacquelynn Sokol of the Springville Museum of Art. “This is the highest level of recognition they can receive at the state level.”

“This really is the Utah state championship of art,” Sokol continued. “We’re really proud of these students. So often, it’s athletes who get highlighted. We love being able to show that the arts have champions too.”

Roughly 50 student artists receive awards each year, with more than $30,000 in cash prizes and scholarships distributed through a combination of juried selections and special recognitions sponsored by organizations, artists and government offices. Jurors select the main award winners, while outside groups and sponsors, including the Utah Senate and individual congressional offices, present additional honors.

Congressional awards, like the one received by Clements, are selected by each congressional office and recognize outstanding student artists from within their districts. While the top artwork from each district is chosen for display at the U.S. Capitol in Washington, D.C., honorable mention recipients are also formally recognized and awarded for their work.

The Artist Nosh Award, presented to Cardon, is selected by a collective of professional artists and highlights exceptional technique, originality and personal expression. Sokol said awards like these help students understand the real-world value of their creativity.

Elggren’s JKR Academy Award is one of the most competitive honors given at the show. The award is selected by renowned Utah artist J. Kirk Richards and includes a scholarship opportunity to attend his artist academy. Only two students statewide receive the award each year.

This year, all award-winning students were invited to the Utah State Capitol, where they were recognized by legislators from their home districts during a special ceremony. Photos and videos from the event were shared by the museum and state leaders on social media.

For Sokol, however, the most powerful impact of the All-State Art Show goes beyond prizes.

“Most of these students won’t go on to be full-time professional artists,” she said, “but this show is a huge confidence booster. It gives them proof that they can make something, put it out into the world, and that it has value to someone else. That confidence carries into whatever career path they choose.”

She added that one of her favorite moments each year has nothing to do with the artwork itself. “I’ve never seen such proud parents,” Sokol said. “Watching families see their students celebrated like this is incredible.”

The 54th Annual Utah All-State High School Art Show runs through March 20 on the main floor of the Springville Museum of Art. Admission is free, allowing the public to view the work of American Fork’s award-winning students alongside the best high school art from all over Utah.

Jennifer Thomas | American Fork Citizen

Like an old friend with a new look, Fiddler on the Roof, presented by The Ruth, returns to Utah County.

Since its 1964 debut, the Jerry Bock, Sheldon Harnick, and Joseph Stein musical Fiddler on the Roof has captivated audiences worldwide. Celebrating the enduring bonds of family and community, director Barta Heiner, with music direction by Rob Moffat and the entire production team at The Ruth, presents a thoroughly charming production. This heart-warming, beautifully directed show is a touching reminder of tradition that no one should miss.

Tevye, a devout Jewish milkman living in the Russian village of Anatevka, attempts to navigate life, poverty, and the changing times alongside his sharp-tongued wife, Golde, and their five daughters: Tzeitel, Hodel, Chava, Shprintze, and Bielke. Ben Henderson (MWF cast) flawlessly portrays Tevye. Dominating the stage with charisma, Henderson delivers a masterclass performance, highlighted by an unforgettable “If I Were a Rich Man.” He commands the audience’s emotions, effortlessly transitioning from joyous laughter to poignant tears.

Claire Kenny (MWF cast) enlivens the show as Golde, Tevye’s wife of 25 years and mother of their five daughters. She grounds her performance in biting wit and deep family love, generating electric sparks with Henderson. Her impeccable comedic timing holds the family together as its undeniable center.

“Do you Love Me?” stands out as a luminous, tender high point, capturing the pure, felt affection between the leads.

A talented ensemble elevates the storytelling. Ben Roeling choreographed the stylized dance numbers, which the cast performs with precision and enthusiasm. From the opening “Tradition,” the ensemble establishes a vibrant atmosphere that evokes emotion in the audience.

Bronson Dameron (MWF cast) plays Perchik, a student revolutionary who falls in love with Tevye’s daughter, Hodel. Dameron delivers an authentic performance as an outsider and an intellectual; he is true to the character with likability and charm. Hodel, played by Sydney Dameron (MWF cast), is commanding on stage as an independent second-eldest daughter. Her love for Perchik shines through in a deeply emotional performance, capturing the tenderness of her decision to trade the safety of tradition for a challenging life in exile. Amelia Rose Moore’s Fruma-Sara appears in the “Dream” scene with great vigor. Her powerhouse vocals command the challenging solo, making the scene unforgettable.

This showstopping scene is memorable for Moore’s strong vocals, which carry a challenging solo. With stellar vocals, the leads deliver an emotional experience, contrasting the weight of tradition with the pull of changing times.

Angelica Salazar (MWF cast) plays her violin with skill and deep artistic expression, beautifully representing the tradition and faith of the Jewish people of Anatevka. Fiddler on the Roof ends with the characters forced from their homes as the cast sings “Anatevka.” The raw power of this performance leaves the audience moved and immersed, falling in love with the story’s timeless tradition again.

Don’t miss your last chance to experience Fiddler on the Roof, running through March 21 at The Ruth, 401 S. Pleasant Grove Blvd., Pleasant Grove, Utah. Reserve your seats now at www.theruth.org.