The Drowsy Chaperone: A Review

St Jacobs Playhouse

The Drowsy Chaperone plays at The St Jacobs Country Playhouse


St Jacobs, Ontario, is known for its Farmers Market and its antiques, but it also boasts a small gem of a theater. The current show at the St Jacobs Country Playhouse (through April 15, 2018) is The Drowsy Chaperone and it’s a winner.

With a book by Bob Martin and Don McKellar (of Slings and Arrows fame) and music and lyrics by Lisa Lambert and Greg Morrison, The Drowsy Chaperone started on Toronto’s fringe theater scene and went on to become an international hit. It’s easy to see why.

Essentially, it’s a parody of 1920s musicals but if the creators had left it at that it would no doubt have sunk like a stone. Instead they use an ingenious framing device — a lonely schlub alone in his drab apartment invites us to listen to his favorite old time musical. This allows us to enjoy the highlights without the chaff. And what highlights they are.

The Drowsy Chaperone, the show within the show, tells the sort of frothy tale that P.G. Wodehouse and Guy Bolton used to churn out for the Broadway musical stage: A famous stage star is about to throw it all away to marry the rich scion of an oil empire, but her producer, under threat from mobsters who are heavily invested in his next show, can’t let that happen. Added to the mix is the tipsy chaperone of the title, tasked with preventing the betrothed from seeing each other on the day of the wedding. She fails, of course, as does the producer and hilarity ensues.

All of this is great fun thanks in no small part to the energetic choreography of Robin Calvert and the spot-on costumes of Rachel Berchtold. But it is the cast that really shines.

The aforementioned schlub (we later discover he’s suffered through a debilitating divorce), known simply as Man in Chair in the playbill, is embodied by Mike Nadajewski. A regular at the Stratford Festival where he usually plays minor supporting roles, Nadajewski here gets a shot at a star turn and he makes the most of it.

The women in the musical within the musical take pride of place. They’re all terrific — Jayme Armstrong as the megastar, Gabrielle Jones as the chaperone with a belt that is anything but drowsy, Jennifer Thiessen as the dizzyingly ditzy girlfriend of the producer, and Glynis Ranney as the doyenne in whose mansion the action unfolds.

This production may not be a match for the original, which I did not see, but until a time machine comes along it will more than suffice. The price is right, the theater is a super comfortable gem with nary a bad seat in the house, the company is congenial, so what’s holding you back?

A Restaurant Tip

There may be fancier places nearby, but I was perfectly happy at The Crazy Canuck, a family run vest-pocket eatery across the street from the Playhouse. Great burgers and house-smoked meats are on offer along with a few vegetarian offerings, two-person pizzas and, of course, poutine in a variety of exotic permutations. The locally brewed IPA is the quaff of choice.
845 Weber Street
Waterloo, ON
519-747-2729

The Drowsy Chaperone
Running time: 1 hour 40 minutes without intermission
Through April 15, 2018
St Jacobs Country Playhouse
40 Benjamin Street East
Waterloo, ON
519-747-7788

Swans on the March: 28th Stratford Swan Parade

Stratford Swan Parade

Stratford’s swans strut their stuff en route to their summer digs.

Despite snow flurries, a patina of ice on portions of the Avon River, and threats of cancellation, the sun came out and the 28th annual Stratford Swan Parade came off without a hitch, much to the delight of some 1,000 spectators from as far away as India, China, and Mexico.

Many people think of Stratford’s swans as a sort of logo for the Stratford Festival, which was founded in 1953. Indeed, many swans desport themselves on the bank just below the Festival Theatre during the summer. But there were swans on the Avon many years before the Festival arrived.

In fact, this year’s parade marked 100 years of swans on the Avon. Stratford’s first pair of mute swans arrived in 1918, the gift of one J.C. Garden, who may have been inspired by Ben Jonson’s nickname for that great Stratfordian, William Shakespeare — Sweet Swan of Avon. The idea caught on and the population grew, helped along by Queen Elizabeth the Second who in 1967 gave Canada six swans, two of which found a home in Stratford. As a nod to the herd’s royal connection, two of today’s swans (a mating pair appropriately enough) are named Kate and William. (And, yes, “herd” is the proper term for a group of swans.)

Mute swans are not native to the area, so Stratford’s birds are “pinioned” to prevent all but the shortest flights and are cared for by the city during the colder months of the year. They reside comfortably in heated winter quarters with a pool. Come the warmth of Spring (or what passes for it in Canada) they are returned to the freedom of the river.

Originally, the city simply opened the doors and shooed the swans 2,000 feet down Lakeside Drive to the river, but the sight of some twenty swans waddling along is kind of irresistible and as word spread the crowds grew. In 1990, the city made its annual swan release a full-fledged event.

Stratford Swan Parade Pipers

The Stratford Police Pipes and Drums add a dramatic touch to the Stratford Swan Parade

Today, the event is marked by a competition among Stratford businesses for the most imaginatively decorated topiary swan, plenty of activities for children, and puppet shows. The grand finale occurs when Stratford’s swans are ceremoniously piped to their summer home by the Stratford Police Pipes and Drums, resplendent in their kilts. It’s all over in about ten minutes, but people linger along the banks of the Avon to watch as pairs fan out to scout nesting sites or exult in the short flights their pinioned wings allow.

“Lear” at Harbourfront Center in Toronto – A Review

Seana McKenna and Jim Mezon in Lear

Director Graham Abbey and his Groundling Theatre Company continue their gender bending ways with Lear, starring Seana McKenna, which drops the King from Shakespeare’s title and presents the tragic monarch as a woman. The results are mixed.

Once again, Abbey proves himself a masterful interpreter of Shakespeare. The minimalist sets and period-agnostic costumes, both by Peter Hartwell, work beautifully and Abbey bends the rather awkward space at the Harbourfront Center to his will.

Shakespeare’s text is the main attraction here and the company renders it with crystal clarity, while Abbey highlights elements that sometimes get muddled in other productions. The parallels between Lear’s relationship with her daughters and Gloucester’s with his sons are particularly poignant. The ways in which these aged parents misread and mismanage their relationships with their children hold lessons for us all.

Goneril and Regan rise to truly gothic heights of cruelty. (I couldn’t help wondering if the actresses found it easier to hate their mothers.) In contrast, Edgar’s tenderness for the father who has so ill-used him is especially heartbreaking.

As usual, Abbey has attracted some of Canada’s best actors. Jim Mezon, a stalwart of the Shaw Festival, is terrific as Gloucester and what a treat to see him matched with the doyenne of the Stratford Festival! The scene in which the now-blinded Gloucester meets the mad Lear on the heath is perhaps the most effective I’ve ever seen.

Kevin Hanchard, new to me but familiar to Canadian audiences from his TV work, is a masterful Kent. Antoine Yared, who starred as Romeo last season in Stratford, is a touching Edgar, and Deborah Hay (Goneril) and Diana Donnelly (Regan) are both sharper than a serpent’s tooth.

Less successful is improv great Colin Mochrie, making his Shakespearean debut, who delivers the Fool’s lines as if he were playing a comedian who knows his jokes aren’t very funny. Alex McCooeye gives an intelligent reading as Edmund but lacks the sexual chemistry the role calls for. He is also sabotaged by his extreme height; when Goneril says “decline your head” so they can kiss it gets a laugh. Mercedes Morris’ Cordelia is sweet but rather wan.

Of course, the main attraction here and the one that has drawn the most press is Seana McKenna, one of Canada’s greatest actors, assaying one of Shakespeare’s greatest roles, one traditionally played by a man.

Much has been made of the way in which the gender swap adds deeper meaning to the text. “I gave you all!” we are told has more resonance when spoken by the mother who gave birth. Well, maybe. There are still lines like “you have that in your countenance
which I would fain call master” and constant references to Lear’s “kingdom” that remind you that Shakespeare had something else in mind.

To my way of thinking, Lear should bring some hint of his incipient madness on stage in the very first scene. When McKenna enters in her stylishly mannish outfit in Act One she evokes nothing so much as a high-powered banker at the top of her game. It’s hard to believe that this buttoned down queen would surround herself with scores of rowdy, drunken knights, let alone descend into madness in a scene or two.

John Geilgud quipped that the secret to playing Lear is finding a light Cordelia. Indeed, one thing that made Colm Feore’s Lear at Stratford a few seasons back so shattering was the way he not only carried Cordelia on stage but sank to the ground with her in his arms. Unfortunately, McKenna must resort to dragging her corpse on a sheet, and up two steps to boot.

All these nits being picked, McKenna plays the part beautifully and thanks to Abbey’s strong hand on the helm you quickly forget all about gender and attend to the play. There are tears to be wrung in McKenna’s performance and she comes by each drop honestly.

So does this production prove that more women should be playing more lead male roles in Shakespeare? My guess is that there will be as many answers to that question as there are genders. But if this Lear proves anything it’s that a great actor is a great actor is a great actor. Ms. McKenna reciting the Toronto phone book would be worth the price of admission.

[This production has closed.]

Four Christmas Carols

 

christmas carol

The drop curtain for “A Christmas Carol: The Family Musical with a Scrooge Loose”

How do two Americans keep themselves occupied when visiting Canada during the deepening cold of early December? Why take in four very different versions of Charles Dickens’ A Christmas Carol of course. The initial plan was to see just one, but…well, you know how these things go.

First up was our original choice, a decorous and heartfelt reading of Dickens’ text at the Stratford Festival, presented as a benefit for the nascent Stratford-Perth Rotary Hospice. Using a version of the novella abridged by Dickens himself for just such recitals, six readers took turns telling the timeless tale of misery and redemption on the Festival Theater’s poinsettia-bedecked stage. The “staves” of Dickens’ story were punctuated with musical interludes ranging from madrigals to pop-folk.

[Read more…]

‘Angels in America’ at KC Rep – A Review

Angels in America

“Angels in America” (Photo KCRep)

What’s playing in Kansas City…

Tony Kushner’s two-part Angels in America is receiving a sturdy revival at the Kansas City Repertory Theatre’s downtown Copaken Stage.

This sprawling two-part epic, subtitled A Gay Fantasia on National Themes, is at turns surreal, whimsical, hallucinatory, bitchily funny, poetic, brutally blunt, and ultimately quite moving.  [Read more…]

New York: The 9/11 Memorial Museum

9/11 Museum in New York City

The New York City skyline, with One World Trade Center standing tallest, seen from a ferry on the Hudson River.

NEW YORK — Last year, at my sister’s request, we visited the World Trade Center site, aka Ground Zero, to see the memorial reflecting pools and other features, but this year, with the 9/11 Museum now open, she wanted to return to see the new facility.

So, we did just that.

The museum’s entry is via an elegant multifaceted glass pavilion, which admits lots of light.

IT9_11Museum10a

The elegant glass pavilion that gives entry to the 9/11 Memorial Museum, seen on a glorious September day.

The museum itself is underground, reaching down about 70 feet to bedrock and extending out under the two reflecting pools that sit atop the footprints of the Twin Towers.

The museum had to go below ground because it is obliged by law to preserve the last remnants of the original World Trade Center, which are at bedrock level, and to give the public “meaningful” access to them.

9/11 Museum in New York City

Foundation Hall, at bedrock level in the 9/11 Museum. The slurry wall, which survived the 9/11 destruction, is seen, along with the last steel beam to be removed from Ground Zero. Its removal marked the end of a nine-month recovery effort.

As a result, visitors see surviving parts of Twin Tower foundations and a retaining wall, called the slurry wall, built to keep the Hudson River from flooding the area. The slurry wall held after 9/11 and saved the city much additional destruction.

It is, of course, a sobering experience to see the 9/11 Museum. My sister and I visited on a gorgeous sunny September day, a day just like Sept. 11, 2001. Even the sun seems somber in such circumstances.

The first things any visitor sees on entry are two 70-foot-tall steel pieces recovered from the Twin Towers and now rising in the pavilion’s atrium. Called tridents because each has three prongs, they were two of many such pieces that were part of the exterior design of the towers.

9/11 Museum in New York City

Tridents, two steel pieces salvaged from the Twin Towers, seen in the glass pavilion that gives access to the 9/11 Museum’s underground exhibits and artifacts.

The tridents together look like an elegant piece of modern art — if you don’t focus on their provenance. Or, they can be seen as hands reaching skyward in supplication.

It’s important to know that the facility’s core exhibition occupies much of the museum’s bottom level. It is called the “September 11, 2001, Historical Exhibition.” We nearly missed it.

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Shaw Festival 2014

peach_celebrationThe picture-postcard-perfect town of Niagara-on-the-Lake was abuzz with shoppers and theatergoers when we arrived on a resplendent summer day. You could be very happy just strolling the streets of this upscale village, admiring homes straight out of a glossy magazine, or shopping in the chic boutiques, or dining in the many fine restaurants, or visiting the shore of Lake Ontario. But most people had come for the theater, as had we.

The Shaw Festival was founded in 1962 with the mission of paying homage to the prolific British playwright George Bernard Shaw. Perhaps one motivation was to provide a counterbalance to the older Stratford Shakespeare Festival’s concentration on “The Bard of Avon,” but that’s mere conjecture on my part. The Festival’s purview was later refined to encompass plays written during Shaw’s long lifetime (1856 to 1950), although lately the bounds have been stretched a bit with the inclusion of popular musicals of more recent vintage as well as some contemporary plays.

The Festival comprises four theaters, from the grand, 856-seat Festival Theatre to the compact, 200-seat Studio Theatre. All are within a short stroll of one another and the plays on offer rotate daily with frequent matinees so that during a short stay a visitor can see a good many plays.

For theater of this caliber, ticket prices are surprisingly moderate and, since prices are in Canadian dollars, American visitors in 2014 will enjoy a discount of about eight percent thanks to a favorable exchange rate.

For the 2014 season, the Festival is mounting ten productions, including two by Shaw, The Philanderer and Arms and The Man. We managed three in two days during a brief layover en route to Stratford.

Cabaret, the Kander and Ebb smash, is getting a solid revival under the direction of Festival veteran Peter Hinton. Deborah Hay is terrific as Sally Bowles and Juan Chioran’s Emcee is very much his own, borrowing nothing from his storied predecessors in the role. Not every element of the production works as well, however, and – let’s face it – the subject matter is downright depressing. So if it’s a lighthearted musical you’re looking for, look elsewhere.

Shaw_Cabaret_WebGallery2

Another offering on the heavy side is Sean O’Casey’s Juno and the Paycock, about the trials and tribulations of a family during Ireland’s Civil War – not the one fought against the British but the one the Irish fought against each other after winning a peace that partitioned Ireland. Not everyone thought that was a good idea then; some still don’t think so.

Shaw_Juno_WebGallery3

If you thought the “dysfunctional family” was a recent invention wait until you get a load of the Boyles. Dad (the “paycock” or peacock) is a drunken braggart, son Johnny’s a shattered IRA veteran with PTSD, daughter Mary is looking for love in all the wrong places. Mother, the Juno of the title, is a tower of strength.

It helps to have a grounding in the history of the period and the program notes are a must-read for those who don’t. For those who think the Irish are a hard-drinking but jolly race, this play will be an eye-opener. It’s a glimpse into the darker side of the national character, one that continues to divide families to this day. A laugh riot it ain’t and because of its length it can be heavy going for some; a good number of folks packed it in at the intermission. Those who stick it out, however, will be rewarded with some truly solid acting.

Fortunately, we ended on a happier note with a blissful production of Arms and the Man, one of Shaw’s most popular plays, and deservedly so. This romantic farce requires a sense of high style to work just so and the cast, under the sure hand of Morris Panych, deliver nicely.

Man (and woman) does not live by great art alone, of course, so we were glad to get an usher’s recommendation for Il Gelato di Carlotta, a few doors down from the Royal George Theatre on Queen Street. This is the best gelato I’ve had this side of Rome. It’s on the pricey side, but once you tuck in, I doubt you’ll be complaining.

For dinner, we were lucky to chance upon Grill on King, which has a sidewalk seating area perfect for people watching and spotting the occasional Festival star at a nearby table. They adhere to the locavore aesthetic that seems to be de rigeur at most of Ontario’s better restaurants these days and their Village Salad, a sort of Greek salad minus the lettuce, was impeccably fresh.

I succumb too often to Tagliatelle Carbonara on menus and am usually disappointed. This was the best I’ve had since a memorable meal in Chamonix in the French Alps. My wife’s mahi-mahi was also tasty, with the lightly grilled vegetables giving the fish some strong competition. The lamb shank, meltingly tender, was roundly praised by a fellow diner.

Niagara-on-the-Lake is one of those ever so slightly out of the way destinations that keeps luring us off the Queen Elizabeth Way, the main route from Buffalo to Toronto. I have every expectation that it will do so again.

The Shaw Festival
Tickets from $35 to $113
(800) 511-7429
www.shawfest.com

Il Gelato di Carlotta
59 Queen Street
(905) 468-8999
www.gelatodicarlotta.com

Grill on King
233 King Street, just off Queen.
(905) 468-7222
www.grillonking.ca

Along Kolob Terrace Road

Smith mesa off Kolob Terrace Road.

Smith Mesa off Kolob Terrace Road.

Here’s another post in our series on Zion National Park. Other articles include: Exploring Zion National Park, Exploring Zion Canyon, Traveling Along the Zion-Mt. Carmel Highway, and Exploring Kolob Canyons.

For another angle on Zion’s natural splendor, take time to drive the 20 or so miles up Kolob Terrace Road, an unassuming paved trail that snakes north from the tiny town of Virgin off State Route 9, about 13 miles due west of Springdale. You can pause to hike if you wish, but don’t be ashamed to take a break and just enjoy the ride.

There are no services on this route so be sure to stop for a packed lunch before setting off. In Springdale, Café Soleil (205 Zion Park Boulevard, not far from the main entrance to Zion) is a good choice and their chipotle chicken wrap is a winner. If you’re approaching from the west, Kokopelli Deli (390 W. State Street) in Hurricane is your best bet; they do a terrific take on the classic Reuben.

Your drive up Kolob Terrace Road begins unassumingly enough, through a modest residential area and into barren scrubland framed by Zion’s less spectacular backside to your right. But soon the road takes a short rise at the top of which the vista opens out to spectacular effect.

Off Kolob Terrace Road -- Zion National Park

View off Kolob Terrace Road.

Here you are on a narrow ridge between two canyons. On your right, you will see the enticing entrance gate to Sunset Valley Ranch. Alas, it’s private, but do pull off to peer over the edge at the lush green horse farm below.

As the road rises steadily (you will ascend some 3,000 feet during your journey), you will enter Zion National Park, greeted only by a sign. Along the way, various trailheads give access to some of the park’s more strenuous one- and two-day hikes.

Take note of the turn off to Smith Mesa Road on the left, but save it for your return trip when the afternoon sun is bathing the walls of Zion in theatrical lighting.

As the road winds in and out of park boundaries, pause frequently to admire and photograph the towering rock formations and distant vistas to the east.

Lava Point off Kolob Terrace Road.

View from Lava Point off Kolob Terrace Road.

At about the 20-mile mark on your odometer, you will reach, on your right, the turn off to Lava Point Campground and the Lava Point Overlook, a little less than two miles away along a seriously rutted dirt road. If there have been heavy rains recently, this stretch may prove impassable to the standard rental car.

If the weather cooperates, you will reach one of Zion’s loftiest viewpoints (nearly 7,900 feet in elevation) and be rewarded with a picnic table that overlooks a jaw-dropping, 180-degree panorama — one that extends to Arizona on a clear day. An interpretive sign aids you in spotting points you have already explored in Zion Canyon.

Smith Mesa off Kolob Terrace Road.

Another view of Smith Mesa off Kolob Terrace Road.

Retracing your route, you will discover that the return journey offers new and unexpected angles on the scenery you passed just a short time ago. This time, take the sharp right-hand turn onto Smith Mesa Road. Again, exercise caution if there have been recent rains. Even in dry weather, this road has some moments that will give you pause if you are only used to driving on well-paved roads.

While the drive up to Smith Mesa can seem like a mini-adventure, the real reward comes when you turn around after a few miles and descend. If you have timed it right, the sinking sun will be showcasing the canyon walls to the east in their perfect light.

Kolob Terrace Road -- Zion National Park

The moon over Kolob Terrace Road.

It’s an exhilarating end to a smashing scenic drive.

Continue to explore Zion National Park

Intro to Zion National Park

Exploring Zion Canyon

Traveling Along the Zion-Mt. Carmel Highway

Along Kolob Terrace Road (You Are Here)

Exploring Kolob Canyons

Exploring Kolob Canyons

Hanging valley at Kolob Canyons.

Hanging canyon at Kolob Canyons.

This is part of a series by Kelly Monaghan and Sally Scanlon on Zion National Park. Check out other articles here and here and here.

A 45-mile drive from Springdale, in the northwest part of the park, Kolob Canyons offers different rock formations and a much quieter experience than its cousin to the south, as relatively few Zion visitors appear to make the trip. Unless you elect a backcountry hike, you’ll probably see these canyons mostly from the 5-mile scenic drive on a red roadway that matches the color in some of strata of the canyon walls.

Pause about midway to admire a spectacular series of sandstone formations that feature so-called “hanging canyons.” Carved by centuries of snowmelt, these lush, green, v-shaped niches in the rock wall are canyons in the making.

Timber Creek Overlook Trail, a rather steep mile-long (round trip) hike accessed from the parking lot at the end of the scenic drive, offers spectacular views.

Timber Creek Overlook at Kolob Canyons.

Timber Creek Overlook at Kolob Canyons.

Kolob Canyons has its own Visitors Center near the entrance, just off I-15, complete with restrooms, a shop, and knowledgeable rangers. There’s a picnic area near the beginning of the Timber Creek trail with several tree-shaded tables. Packing in a picnic lunch is highly recommended.

Timber Creek Overlook Trail -- Zion National Park

Vista from the end of Timber Creek Overlook Trail.

Perhaps because it is less visited, you have a better chance of seeing wildlife here, especially if you venture along the trail system. When we visited, signs warned that a mountain lion had recently been spotted in the vicinity. Our own sightings were limited to birds, lizards, and squirrels.

To get to Kolob Canyons, drive west from Springdale on State Route 9, then north on State Route 17 and Interstate 15. The entrance to Kolob Canyons is at Exit 40.

Kolob Terrace Road -- Zion National Park

Along Kolob Terrace Road.

 

 

 

 

Continue to explore Zion National Park

Intro to Zion National Park

Exploring Zion Canyon

Traveling Along the Zion-Mt. Carmel Highway

Along Kolob Terrace Road

Exploring Kolob Canyons (You Are Here)

Traveling Along the Zion-Mt. Carmel Highway

Along the Zion-Mt. Carmel Highway.

Along the Zion-Mt. Carmel Highway.

This is part of a series on Zion National Park by Kelly Monaghan and Sally Scanlon. Check out other articles here and here.

Twelve miles of State Route 9 cut through the southeastern corner of the park, connecting the park’s south and east entrances (and requiring payment of Zion’s entry fee). The stretch is designated a scenic highway, and it more than lives up to that name. The road climbs steeply from the canyon floor, passing through Zion-Mt. Carmel Tunnel on its way to Checkerboard Mesa and the park’s east entrance.

The 1.1-mile tunnel was the longest in the U.S. when it was completed in 1930. Its two lanes were plenty wide enough for two-way traffic back then, but a single lane can’t accommodate vehicles 11’4” tall or taller or 7’10” wide or wider.  As a result, most RVs, campers, trailers, and the like require “one-lane traffic control,” which means rangers at either end allow only one-way traffic until the large vehicle passes through. Visitors requiring that service in 2014 pay a $15 fee per vehicle in addition to their entry fee. The fee is good for two trips through the tunnel (for the same vehicle) in a 7-day period.

Sliprock along Zion-Mt. Carmel Highway.

Sliprock along Zion-Mt. Carmel Highway.

Once through the tunnel, the landscape changes dramatically. The drive showcases sliprock and “checkerboard” rock formations you don’t see on the Zion Canyon trails we hiked. Unless you are traveling on to Bryce Canyon National Park, you will turn around just before you reach the park’s east entrance.

Checkerboard mesa.

Checkerboard Mesa.

In addition to enjoying spectacular views from the many observation turnouts along the road, you can take a “moderate” hike on the rocky, mile-long (round trip) Canyon Overlook Trail. Accessed from near the east end of the Tunnel, the trail offers yet more views and lets you get up close and personal with the canyon flora. From its end, visitors can look down on the twisty road that brought them up from Zion Canyon. The Canyon itself lies ahead and far below them. Careful! The trail is sometimes steep and narrow with long drops to the floor below; not advised for those who have a fear of heights.

Canyon Overlook: View at end of trail.

Canyon Overlook: View at end of trail.

This drive can be done as part of a day in Zion Canyon.

Continue to explore Zion National Park

Intro to Zion National Park

Exploring Zion Canyon

Traveling Along the Zion-Mt. Carmel Highway (You Are Here)

Along Kolob Terrace Road

Exploring Kolob Canyons