There are times in one's life -- rare, to be sure -- when one really feels in the know, when one truly understands what it means to be the ultimate insider. Every now and again a person sees the influence and the power of power -- even if it's only beginning to bud -- from a perspective that is up close and personal and usually unknown to the rest of us. Surely the then still below-the-surface leadership traits and charisma of Chris Buttars -- which we'd all run into decades later -- were seen by his junior-class prom date. I'm thinking he skipped his senior-class dance. Perhaps it was during that 12th-grade year, however, when it isn't necessary, he admitted, to concentrate on one's education, that he developed the basis for that strength of character and the towering opinions we have since come to know and love. If that's the case, then the 11th-grade dance partner referenced above didn't know crap and this wasn't the wisest way to lead off this piece. Oh well, in any case, I recently had the opportunity to be in the know and on the inside. As a long-time fan and former board member, I was able to finagle entry into a rehearsal of SATURDAY'S VOYEUR at the Salt Lake Acting Company. Talk about knowing the deep, dark secrets; it was like being a baggage handler on the Enola Gay.

And are there really any mysteries? Well, the good news is that SATURDAY'S VOYEUR only could be produced in Utah. And the bad news is that SATURDAY'S VOYEUR only could be produced in Utah. We really need it here. However the rest of the country seems to be catching up with the Beehive State in terms of cultural chaos, partisan paralysis and leaders characterized by being so simply self satisfied with themselves and operating within narrow definitions of self interest and even narrower – no, no, no, that's just too easy and not nearly half as clever as VOYEUR, which ultimately appeals to our more benevolent and better selves by addressing Utah's foibles and fables through songs and dances, punch lines and plots.

And it's absolutely the most fun. With the possible exception of Lady Gaga in THE SOUND OF MUSIC, you are not likely to have a better time in a theatre anywhere. I originally thought to put Gaga in SOUTH PACIFIC, but she might actually pull off Nellie Forbush and wash that man and heaven knows what else right out of that hair. This reminds me of a time many years ago when I saw a production of FUNNY GIRL in California starring Pia Zadora. For those of you more than 40, that's right, I typed Pia Zadora and I shudder to think what became of the person whose suicidal idea it was to cast her thusly. It was like nothing I'd ever seen before or since. I do not even know how to describe it, but I had the best time. This greatly annoyed my good-hearted wife because she said I was enjoying the show "for all the wrong reasons." No fear of alienating my sainted partner at VOYEUR, as we'll all be laughing together for all the right reasons.

Certainly among those right reasons are directors with experience, a point of view and vision, as well as being open and collaborative with a sterling and spirited cast and crew. "We're still discovering," Cynthia Fleming said. It's just a week until opening night and just days away from preview performances and you might think at this time it's just a matter of practice, practice, practice, making each move and inflection second nature. Actually, the artistic process continues even now. It may be as simple as Nancy Borgenicht suggesting the amount of distance between a performer's feet while he or she sits on stage or how to swing a golf club or hold a frisbee, but the visual improvement and impact is evident immediately to the guy sitting in the back row. To a civilian it's merely miraculous. But I fear, it is no where near as simple as it looks but actually all the choices are based on decades of experience and trial and error and shows that succeeded and others that did not live up to expectations – but I'm absolutely convinced there's magic too.

Much of the magic is related to the tangible talent and tools attributable to a cast with the ability to continue exploring every on-stage opportunity – even just days before the curtain goes up. "What would it sound like if..." Well, let's try it, they seem to say, and a new way to begin a rousing disco anthem is added to the show. I'll admit I am a sucker for people who can sing and dance and act with abandon and in public. I would rather be the TSA officer assigned to full-body scan a certain congressman's wife than speak in public and have, therefore, spent my entire public life "on book." But these dozen people have no such need and are able to soar – in tune and in key, no less. And so courteous. I attended a tech rehearsal where light and sound cues are being programmed into computers. What happens is the performers run through the show – in this case the third act—and the lighting, for example, is mapped out. A performer can be in the middle of a line or a note of a song and the voice booms throughout the theatre, "Hold, please." The performer stops and then when told – and it can be several minutes later – pick up exactly where they left off. This stop and start is handled with grace and good humor. Always patient and pleasant, whereas I'd be cursing and rolling my eyes and flipping people off were I so treated.

The cast and crew are working in intimate and close quarters for weeks and weeks and the courtesy likely is a way to avoid controversies and confrontations but the camaraderie seems real and the desire to please equally genuine. There is one song – sung as a solo – where the score has a tornado-like tempo teamed up with tongue-twisting and tricky lyrics. The performer did get tongue tied and her first reaction was to apologize to the lyricist. "It'll be better," she promised. Of course it will; these are talented individuals who couldn't do otherwise.

I've often been accused of being a smart-mouthed smart ass. And when I volunteered to take on this assignment I assumed I could be as cynical as ever and knock this out with a couple of jokes about rehearsal clothes and an over reliance on alliterative prose. You might very well be entertained by such an endeavor and people could find me clever and cute, to be sure. But the men and women of SATURDAY'S VOYEUR 2010 deserve so much more. I tried, and I hope this does not lead anyone to think otherwise. Break a leg.