Slow Burn Theatre Company’s production of The Bridges of Madison County is what critics save up our credibility for – so that when a work of art is this effective, this moving, this captivating, then you’ll know we are urging you to see something truly special.
They are unlike any trials you have ever seen on Law & Order. Zoetic Stage’s world premiere of Christopher Demos-Brown’s Wrongful Death And Other Circus Acts is a hilarious but merciless satire on the civil legal profession by, indeed, setting the evening in and as a highly stylized circus.
Everything about the Maltz Jupiter Theatre’s Hairspray has volume, and then some . . . from the bubblegum-bright lighting design to overdrawn characters that, while definitely animated, never come off as cartoonish, to the Maltz’s always super snappy choreography that’s as perfectly coiffed as a beehive hairdo plastered with Aqua Net
Christopher Demos-Brown has a world premiere Friday of Wrongful Death And Other Circus Acts at Zoetic Stage, but his play American Son is slated to open on Broadway in November.
The Wick’s Singin’ in the Rain, for all of its talent and technical achievements and good cheer, offers too few reasons to experience the stage version of the definitive MGM movie musical on its own merits. It’s such a studied, careful, conservative Xeroxing of the movie that it only occasionally gives way to the woollier possibilities of the stage experience.
Island City Stage’s highly entertaining production of the musical Zanna, Don’t! will never be confused with a show by Stephen Sondheim, though there are numerous references to the famed composer. Amid the numerous pop culture references, , and well-timed humor, Zanna, Don’t! slyly, yet forcefully, maintains that everyone has a right to love whom they want.
We could tell you that A Gentleman’s Guide to Love & Murder is a satire of the artificiality of the class system and an affectionate lampoon of British theater genres such as the music hall and Gilbert & Sullivan operettas. All of which would be accurate. But, actually, the Tony-winning musical touring at the Broward Center this month is simply deliciously devilish fun.
South Florida has long been home to minority-dominated theater companies as well as productions in which race was a central theme. But the Carbonell Award nominations for 2017 released this morning underscore how opportunities have grown specifically for African-American artists in the region and for audiences interested in their work.