While many fans know Newsies from the beloved 1992 Disney film, Tuacahn’s stage musical (directed by Sarah Hartmann) offers a fresh, reimagined take on the story—with new character development, plot twists, and powerful additional songs that make it a thrilling experience of its own. Framed by Tuacahn’s towering red rock canyon walls, the production gains a larger-than-life presence, blending the grit of 1899 New York with the grandeur of southern Utah’s natural backdrop. Scenic designer Clayton Domback’s multi-level set is reminiscent of a New York City apartment block, with arched doorways, balconies, ladders, and staircases. The hanging laundry lines give it a lived-in feel and are a way of introducing working-class struggles before the show starts. The set holds surprises that will be revealed as the show progresses.
The story begins with Jack Kelly (James Everts) explaining to his best friend Crutchie (Andy Richardson) his dream of a better life far from the grime and struggle of New York City. In the heartfelt ballad “Santa Fe,” he shares his longing for freedom and a future that isn’t defined by poverty and street survival. Everts plays a charming and charismatic Jack, friend to all. He has the voice and the accent to bring the young New Yorker to life. But Jack’s dreams are interrupted when Joseph Pulitzer (Randal Keith), the powerful newspaper publisher, schemes to increase profits by charging the Newsies more to buy their papers. In “The Bottom Line,” Pulitzer and his advisors reveal their cold, calculated plan to exploit the child laborers who depend on the job to survive. Julie Cardia as Hannah is a delight, playing a very different role from the other Tuacahn shows.
As Jack and his fellow Newsies organize a strike in protest, they find support from an unexpected ally—Medda Larkin (Ameena McKenzie), a bold vaudeville star who offers them a safe place to gather. The set transition to Medda’s theater is one of the brilliant surprises in store for audiences. McKenzie’s Medda sweetly breaks the fourth wall and enchants audiences with her dazzling vocals in “That’s Rich.” At the theater, Jack meets Katherine Plumber (Abby Linderman), a sharp and ambitious reporter who’s eager to prove herself with a front-page story. Linderman’s fast-talking solo number, “Watch What Happens,” captures Katherine’s excitement in covering the Newsies and her commitment of telling their story. Linderman absolutely shines as Katherine, giving her authentic moxy, heart, and grit. Key to organizing the strike are brothers Davey (Jackson Hurt) and Les (Greyson Nielson/Hudson Sullivan), who bring both brains and charm to the movement—Davey as a steady strategist and Les as a pint-sized sparkplug of enthusiasm who can also take a hit. Leaving the theater inspired and energized, Jack and Davey lead the Newsies into action with the rousing anthem “Seize the Day,” urging the group to stand strong and united against Pulitzer’s power.
One of the most gripping moments in Act I is the high-stakes confrontation between the Newsies and the strikebreakers. The fight scene is executed with precision and intensity, showcasing the exceptional work of the fight choreographer (Jason Paul Tate) and the cast’s physical commitment. What begins as a rallying moment quickly escalates into chaos, with bodies tumbling, papers flying, and emotions boiling over. Each punch, fall, and scramble across the stage feels believable and urgent, underscoring the real danger the Newsies face in standing up to power. The choreography balances realism with theatricality, making the scene thrilling without losing clarity. In the final song of Act I, Jack delivers the gut-wrenching ballad “Santa Fe.” There is a musical transition and pause in the song that Everts is able to fill with emotion, masterfully returning to the song on key without accompaniment. This song showcases Everts’ strong vocals.
Emotions are heightened heading into the second act. On one hand, “King of New York” is an upbeat tap number full of hope and enthusiasm. However, Crutchie (Andy Richardson) is imprisoned in the Refuge, where he secretly writes Jack a heartbreaking “Letter from the Refuge” detailing the abuse he’s enduring. Richardson tenderly blends the levity and the emotion that the song requires. Just as morale begins to waver, Newsies from across the city arrive in solidarity, captured in the booming number “Brooklyn’s Here.” Meanwhile, Katherine and Jack’s partnership deepens into romance, and in “Something to Believe In,” they find hope not only in their cause, but in each other. The chemistry between Everts and Linderman crackles with energy and depth. Their dynamic blends wit, challenge, and genuine connection, allowing their characters to grow through the other.
The climax builds with “Once and For All,” as the Newsies take control of the printing press to publish their own paper and rally child workers across the city. What makes this number especially powerful is how its energy radiates outward: it begins around the printing press, spreads across the stage as Newsies toss bundled papers to one another, and finally reaches the audience as papers are handed out directly, drawing them into the movement. The message becomes impossible to ignore, and the audience is fully immersed in the urgency and momentum of the strike. The Newsies’ bravery and unity ultimately force Pulitzer to the table, and with support from Governor Roosevelt (Nick Berninger), their fight succeeds—proving the transformative power of young voices standing together for justice.
The world of Newsies comes to life through the work of a remarkable creative and performance team. The ensemble of dancers is nothing short of electric—athletic, precise, and endlessly energetic, they elevate every number with tap breaks, flips, and synchronized movement that make the stage pulse with life (Newsies and ensemble include Davey Burton Midkiff, Anthony Savino, Delaney Gold, Jack Taylor, Jacob Beaver, Zac Pritts, Charles Antenen, Bella Depaola, Daryn Polzin, Eric B. Anthony, Jillian Butler, Mariel Harris, Hailey Rose Kasky, Adam Lipson, Mollie-Claire Matthews, Andre Darnell Myers, Kelsey Lee Smith, Alec Talbot, Scott Whipple). Mara Newbery Greer’s choreography is crisp, dynamic, and rooted in storytelling, allowing each Newsie to shine while building a sense of gritty camaraderie. Costume designer Ricky Lurie grounds the production in period authenticity with suspenders, vests, knickers, and newsboy caps that feel both rugged and iconic. Hair and makeup designer Jeff Knaggs completes the transformation with smudged cheeks, tousled hair, and character-specific details that reflect the tough, work-worn reality of the streets. Together, this team captures the heart of 1899 New York and fills it with movement, texture, and personality that honor both the grit and the heart of the Newsies’ world. In the final number, the entire ensemble takes up the expansive Tuacahn stage with infectious energy—even a handcuffed Snyder (Fred Inkley) joins the celebration with unexpected dance moves that leave the audience in stitches.
The emotional force and energy of Newsies is propelled by its outstanding live orchestra, led by Music Director Christopher Babbage. From the first notes of the overture to the final triumphant chords, the music adds urgency, heart, and momentum to every scene. The score—filled with driving rhythms, sweeping melodies, and punchy brass—comes to life under Babbage’s direction, with Daniel Mollett (Associate Music Director/Keyboard 1) and Alex Huff (Assistant Music Director/Keyboard 2) anchoring the sound with precision and sensitivity. Their accompaniment not only supports the singers and dancers onstage but enhances the storytelling at every turn, capturing both the grit of the streets and the soaring hope of the Newsies’ cause. The live music is an essential part of what makes this production pulse with authenticity and emotional depth.
The visual storytelling is further elevated by the seamless collaboration of lighting designer Rob Siler, sound designer Josh Liebert, and projection designer Gabe Aronson. Siler’s lighting design moves fluidly with the action, shifting mood and focus with precision, while Aronson’s projections add depth and dynamism to the stage—at times even creating the illusion of floor-level changes through scrolling imagery. These visual elements work in harmony to expand the world of the Newsies beyond the physical set, immersing the audience in bustling streets and quiet rooftop escapes. Liebert’s sound design ensures every line, lyric, and layered harmony is crisp and clear, allowing the full impact of the performances and live music to come through with emotional clarity.
With its unforgettable choreography, heartfelt performances, and a message that still resonates today, Tuacahn’s Newsies is a must-see production that delivers both spectacle and soul—don’t miss your chance to be part of the rally.
Tuacahn Center for the Arts presents Disney’s Newsies the Musical, music by Alan Menken, lyrics by Jack Feldman, and the book by Harvey Fierstein.
Tuacahn Amphitheater, 1100 Tuacahn Drive, Ivins, Utah 84738
July 12 – October 24, 2025, Performance dates and times vary
Tickets: $44-$128
Contact: 800-746-9882
Tuacahn Facebook Page
Additional Tuacahn Teen Newsies are listed in the playbill: Drake Best, Kelsey Bowler, Harper Griffith, Stella Jamieson, Kailo Klc, Laurel Knell, Mack Lawrence, Greyson LeFevre, Ty Poulson, Leer Sainsbury, Davin Smith, Jordan Sullivan, Abby Terry, and Lou Jean Williams.