The Rhetorical Review

Ogden, UT — In a bold regional premiere, the Ziegfeld Theater’s Tootsie, directed by Kyle Esposito, brings both heart and hilarity to the stage. Jeremy Gross stars as Michael Dorsey/Dorothy Michaels, delivering a vocally demanding and emotionally layered performance. Opposite him, Morgan Parry as Julie offers a grounded, emotionally intelligent counterpoint that elevates the show’s ethical stakes. The supporting cast—particularly Alexa Thomas (Sandy), Caleb Parry (Jeff), and Alma Lambson (Max)—provides consistent comedic sparkle and crowd-pleasing charm.

Esposito’s direction leans into Tootsie’s redemptive arc with care, emphasizing growth, empathy, and self-confrontation. It’s a confident production of a contemporary musical that asks old questions in new ways—and isn’t afraid to both entertain and unsettle. While the script is not without flaws, the production offers a timely and important reminder to value marginalized perspectives—and, as Esposito writes in the director’s note, to remember that “change is possible when we are brave enough to see the world through another’s eyes.”

Context: Adapting a Film to Musical

When Tootsie premiered as a film in 1982, it was lauded for its comic brilliance and progressive message—at least by the standards of the time. Dustin Hoffman’s portrayal of out-of-work actor Michael Dorsey, who disguises himself as “Dorothy Michaels” to land a job, was celebrated for its cleverness and subtle critique of sexism in the entertainment industry. But today, the original film reads quite differently: what was once considered a feminist-leaning comedy now plays as a problematic artifact of Reagan-era gender politics, complete with emotional manipulation, sexual opportunism, and a generous helping of gay panic.

Enter Tootsie: The Musical, with music and lyrics by David Yazbek and a book by Robert Horn, which premiered on Broadway in 2019. The musical does not shy away from its dated source material. Instead, it recrafts the narrative to align more closely with contemporary ideas about gender, consent, and agency—without losing its sharp comedic edge. In this, the musical does something rare: it redeems the original premise without sanitizing it. And now, in 2025, Ziegfeld Theater in Ogden, Utah, takes on this ambitious reimagining in a regional premiere that is both playful and, at times, surprisingly profound.

Centering Women, Recasting Comedy

One of the musical’s greatest improvements lies in its treatment of the women in Michael’s orbit. Morgan Parry’s Julie is no damsel in distress. Unlike her film predecessor (played by Jessica Lange), this Julie is emotionally astute, professionally ambitious, and ethically grounded. She doesn’t need Dorothy to “teach her” feminism—she already knows what the stakes are. That clarity makes Michael’s deception more impactful, shifting the story’s moral gravity away from male redemption and toward female betrayal (Fujishima, 2019).

Alexa Thomas’s delivers an energized and hilarious performance as Sandy, leaning into the character’s theatrical anxiety with impressive vocal agility. Sandy’s character, however, reveals one of the musical’s lingering shortcomings. Her number “What’s Gonna Happen?” is a lyrically brilliant love letter to women who pursue theatre—a meta-theatrical high-speed panic attack that captures the performative pressures of being an actress in a hyper-competitive industry (Horn & Yazbek, 2019). But musically, it felt chaotic and rushed. While the musical leaves more space than the film, it felt like a missed opportunity because Sandy remains the same: more caricature than critique—dramatic, anxious, and written primarily for laughs. Perhaps Thomas’s portrayal leaned too far into the “neurotic woman” trope.

By contrast, Alma Lambson’s Max is a delightful update. The musical recasts the lecherous soap star from the film into a lovable, dim-witted reality TV beefcake. Rather than reinforce outdated power dynamics, this Max punctures celebrity vanity while maintaining the play’s humor—without becoming predatory. Lambson reinvents Max Van Horn with charm and brilliance, delivering a performance that is hilariously dimwitted in the best possible way—full of comedic timing, physicality, and irresistible cluelessness.

Ziegfeld’s Take: Risk, Reward, and Local Flavor

Under the direction of Kyle Esposito—who also designed the set—the production balances comedy with thoughtful introspection, supported by Alexandra Kalaher’s musical direction and Francesca Mintowt-Czyz’s playful choreography. The show’s technical precision is evident in Troy Martell’s dual sound and projection design, Darren Maxfield’s crisp lighting (Ogden), and Ash McKnight’s vibrant costumes. Intimacy and fight scenes are handled with care, thanks to Marinda Maxfield and Garret Rushforth, respectively, while Sydney McAlister’s work as both stage manager and board operator keeps the production running seamlessly. Every backstage contributor—from wig design by Byron Batista to set construction by Erica Choffel and team—brings specificity and cohesion to a show that demands split-second timing and visual flair. This is community theatre operating at a high level of coordination, craft, and care.

The cast of Tootsie at Ziegfeld Theater brings sharp comedic timing and heartfelt nuance to a story that hinges on both. Jeremy Gross shines in the demanding dual role of Michael Dorsey and Dorothy, showcasing an impressive vocal and emotional range, especially in his ability to belt with clarity and control in his upper register. His performance balances comedic flair with genuine vulnerability, making Michael’s transformation into Dorothy not only believable, but musically compelling.

Caleb Parry’s Jeff delivers some of the show’s most memorable comedic beats, anchoring Act II with “Jeff Sums It Up”—a sharply timed, self-aware meta-commentary on the story’s spiraling deception. Without Parry’s self-aware pep talks and wry commentary as Jeff, the show’s more outdated elements might have landed with much less grace. His performance helps ground Tootsie in the present, offering the kind of comic conscience the script needs to stay relevant.

The ensemble cast brings a vibrant cohesion to Tootsie, contributing humor, texture, and momentum at every turn. Amber Storm, David Storm, and Phil Tuckett lend a confident, grounded presence that anchors the production, while Hayden Höglund, Windy Nichols, and Jacob Eich enhance each scene with crisp, well-calibrated character work. The dance ensemble—featuring Paige Andreasen, Hannah Winkler, Emma Simmons, Liesel DeWalt, Logan Nelson, and Zane Winkler—injects the musical-within-a-musical moments with infectious energy and precision. And in a playful nod to theatrical self-awareness, Matthew Trujillo, Matthew Williamson, Jennifer Westfall, Jim Christian, and Maurie Tarbox offer delightfully cameos that round out a cast rich in chemistry and charm.

And yet, for all its updates, the show doesn’t always push far enough. It continues to use drag for comedy without fully interrogating the boundaries between disguise, performance, and appropriation. In today’s political climate—where gender nonconformity is increasingly under attack—the absence of trans or nonbinary perspectives is a missed opportunity.

Gender as Rehearsal: Butler’s Theory Onstage

Judith Butler’s theory of gender performativity offers a compelling framework for analyzing the central conceit of Tootsie: The Musical. In Gender Trouble, Butler (1990) argues that gender is not a stable identity or an internal truth, but rather a repeated set of acts that creates the illusion of a coherent self. “There is no gender identity behind the expressions of gender,” Butler writes; “that identity is performatively constituted by the very ‘expressions’ that are said to be its results” (p. 25).

Michael Dorsey’s transformation into Dorothy Michaels literalizes Butler’s concept of gender as performance. At first, his performance is strategic—he wears femininity like a costume rather than embracing it as a lived subjectivity. This underscores Butler’s argument that gender is not innate but is constituted through stylized repetition of norms. As the musical progresses, however, Michael’s disguise confronts him with the constraints women face in both the workplace and the arts, disrupting his illusion of control. His slow, uneven reckoning reflects Butler’s assertion in Bodies That Matter that performativity is “not a singular act, but a repetition and a ritual” (1993, p. 15)—one that binds subjects to systems of power even as they negotiate their agency within them.

In this light, Tootsie operates as both a satire of the entertainment industry and a meta-commentary on the social theatre of gender. The musical, especially in Ziegfeld Theater’s 2025 production, still centers cis male discovery more than it interrogates the structures that marginalize non-normative genders. And yet, it plants a seed of critical reflection: Who gets to reinvent themselves? Who gets to perform transformation—and who is forced to remain “in character” just to survive?

This question echoes in the song “What’s Gonna Happen?”, where Sandy’s spiraling anxiety is mined for comedic effect. Her performative breakdown is surveilled and exaggerated, even in satire, highlighting how femininity is policed and pathologized (Horn & Yazbek, 2019).

By contrast, Julie’s character arc aligns more closely with Butler’s vision of agency within constraint. Morgan Parry’s performance brings emotional intelligence and composure to a role that refuses the waifish victim trope of the 1982 film. Unlike Lange’s Julie—who was “mansplained” into empowerment—Parry’s Julie begins the show already aware of her worth. Her disappointment in Michael, then, is not just romantic—it is ethical. His deception violates the unspoken “gender contract” that underlies performative interaction and mutual recognition.

Ultimately, Tootsie: The Musical is caught between two impulses: the campy pleasure of theatrical transformation and a more critical engagement with the politics of gender performance. Through Butler’s lens, it becomes clear that while the musical flirts with gender critique, it ultimately recenters cisnormative narratives. Michael’s performance ends when the curtain falls. For others, the stage never closes.

But perhaps that’s the point. The musical—especially in Ziegfeld Theater’s 2025 staging—invites us to reconsider the line between authenticity and artifice. It asks: Who gets to perform transformation, and who is expected to remain legible, stable, and palatable for the audience? That is not just a theatrical question—it is a political one.

Final Thoughts: Theatre, Empathy, and the Politics of performance

Ziegfeld’s Tootsie is more than a slick regional premiere—it’s a thoughtful attempt to engage with a complicated cultural artifact. Director Kyle Esposito’s note reminds us that Michael’s journey hinges on empathy: “The best performances—onstage and in life—begin when we stop pretending and start truly seeing one another.” That ethos permeates the production.

While the original Tootsie may now feel like a relic of a less-aware era, the musical adaptation—especially in capable, self-aware hands—offers both levity and critique. It invites us to laugh, yes, but also to reckon. What are the costs of reinvention? Whose labor makes someone else’s transformation possible?

In a theatrical landscape still shaped by old norms and tight budgets, Tootsie at Ziegfeld proves that regional productions can rise to the challenge: sharp, daring, imperfect—and worth seeing. For all the script’s missteps—its occasional reliance on outdated tropes and its limited engagement with nonbinary identity—Tootsie still manages to deliver a timely message of empathy, growth, and self-reflection. And in a state that just became the first in the nation to ban LGBTQ+ Pride flags from government buildings and schools (NPR, 2024), that message resonates more urgently than ever. To present a show that encourages audiences to see the world through someone else’s eyes, to question rigid binaries, and to extend compassion, becomes a quietly defiant act. In this context, Tootsie at Ziegfeld offers more than laughs—it becomes a gesture of allyship and a reminder that change begins with listening. And that, I believe is something worth supporting.

🎭 Performance Information

Book by: Robert Horn
Music & Lyrics by: David Yazbek
Based on the story by: Don McGuire and Larry Gelbart and the Columbia Pictures motion picture Tootsie (1982)
Recommended Ages: 13+ (Ziegfeld), 16+ (Egyptian Theatre) — Contains adult content and sexual situations. Parental discretion advised.

📍 Ogden, UT — Ziegfeld Theater

Venue: Ziegfeld Theater
3934 S Washington Blvd, Ogden, UT
Directed by: Kyle Esposito
Presented by: Ziegfeld Theater

Performance Dates: Through May 24, 2025
Showtimes:

• Fridays & Saturdays at 7:30 PM
• Saturday matinees at 2:00 PM

Run Time: Approximately 2 hours, 30 minutes (with intermission)
Tickets: $24.95–$26.95
🎟 Purchase Tickets at zigarts.com or call the box office at 855-944-2787

📍 Park City, UT — Egyptian Theatre

Venue: Egyptian Theatre
328 Main Street, Park City, UT
Performance Dates: May 28 – June 1, 2025
Showtimes:

• Wednesday–Saturday at 8:00 PM
• Saturday matinee at 3:00 PM
• Sunday at 5:00 PM

Pricing:

• Wed/Thu/Sat Matinee: $39 (House & Balcony), $49 (Preferred), $59 (Cabaret)
• Fri/Sun: $45 / $55 / $65
• Saturday Evening: $53 / $59 / $69
  Note: Tickets increase by $5 within 30 minutes of showtime.

Box Office:
🎟 Purchase Tickets at parkcityshows.com or call the box office at 855.745.SHOW
⚠ The Egyptian Theatre does not use third-party ticket vendors. All sales are final; exchanges allowed with 24 hours’ notice for the same show on a different date.

Audience Advisory: Recommended for ages 13+ due to content. Some material may be inappropriate for younger audiences. RATED R for Strong Language, Adult Themes, and Sexual Content

Production – Tootsie at Ziegfeld Theater

Director: Kyle Esposito
Producer: Jennifer Westfall
Music Director: Alexandra Kalaher
Choreographer: Francesca Mintowt-Czyz
Stage Manager & Board Operator: Sydney McAlister
Fight Choreography: Garret Rushforth
Intimacy Coordinator: Marinda Maxfield

Set Design: Kyle Esposito
Lighting Design (Ogden): Darren Maxfield
Lighting Design (Park City): Peter Mayhew
Sound & Projection Design: Troy Martell
Sound Operation: Gerard Howells
Costume Design: Ash McKnight
Props Design: Lilli Graden
Wig Design: Byron Batista
Set Dressing & Scenic Painting: Erica Choffel
Set Construction: Erica Choffel, Steve Hill, Caleb Parry
Set Change Coordinator: Alma Lambson

Backstage Crew (Ogden): Caitlin Storm, Mikey Storm
House Manager: Hilder Espinosa

Cast – Tootsie at Ziegfeld Theater

Michael Dorsey / Dorothy Michaels – Jeremy Gross
Julie Nichols – Morgan Parry
Sandy Lester / Music Captain – Alexa Thomas
Max Van Horn – Alma Lambson
Jeff Slater – Caleb Parry
Rita Marshall – Amber Storm
Ron Carlisle / Fight Captain – David Storm
Stan Fields – Phil Tuckett
Stage Manager – Hayden Höglund
Suzie / Ensemble – Windy Nichols
Stuart / Ensemble – Jacob Eich

Ensemble & Dance Captains:
Paige Andreasen
Hannah Winkler
Emma Simmons
Liesel DeWalt
Logan Nelson
Zane Winkler

Directors (TV Show Sequence):
Matthew Trujillo
Matthew Williamson
Jennifer Westfall
Jim Christian
Maurie Tarbox

References

1. Butler, J. (1993). Bodies that matter: On the discursive limits of “sex”. Routledge.
2. Butler, J. (1990). Gender trouble: Feminism and the subversion of identity. Routledge.
3. Fujishima, K. (2019, May 18). 5 ways Tootsie the musical improves on Tootsie the movie. TheaterMania. https://www.theatermania.com/news/5-ways-tootsie-the-musical-improves-on-tootsie-the-movie_88632/
4. Horn, R. (Book), & Yazbek, D. (Music & Lyrics). (2019). Tootsie: The musical [Stage musical]. Based on the story by Don McGuire and Larry Gelbart and the Columbia Pictures motion picture Tootsie (1982).
5. Neuman, S. (2024, March 14). Utah becomes first state to ban LGBTQ+ pride flags in government buildings and schools. NPR. https://www.npr.org/2024/03/14/1238510876/utah-pride-flag-ban-law-government-schools
6. Pollack, S. (Director). (1982). Tootsie [Film]. Columbia Pictures.
7. Ziegfeld Theater. (2025). Tootsie [Regional theatre production]. Directed by Kyle Esposito. Ogden, UT: Ziegfeld Theater.