It’s not that it’s impossible to mess up the musical Annie, but when you have a reliable troupe of talented hands like those connected to the current Wick Theatre production, you are guaranteed an entertaining evening.
The ground-breaking record-breaking Tony-winning Pulitzer-winning musical Hamilton is expected to attract unprecedented numbers of fans and newcomers when the national tour arrives at the Broward Center this month. But that raises a dozen logistical challenges, starting with where will as many as 2,600 people attending each show at the main Au-Rene theater find places to park, and how will officials handle potential traffic jams?
How do you get a younger demographic to go see a play? Well, if it isn’t Hamilton, it is difficult, sometimes impossible, to get those, let’s say, under the age of 40-somethings to a live theater performance. But judging by the customer base at Saturday night’s Miami Motel Stories, the site-specific theater piece from Juggerknot Theater Company is on to something.
Angie Radosh’s face, not to mention her body language, provides an unimpeded view deep into the soul of a writer battling an inevitable descent into the spiral of Alzheimer’s disease in Primal Force’s unnerving production of Breadcrumbs. Her tour de force provides another of the don’t-miss acting performances of the season to date.
The emotional cauterizing of an already withdrawn teenager by a family dynamic of furious fights and fierce sibling rivalry forms the core of Tammy Ryan’s Tar Beach, receiving a sensitive examination from Theatre Lab.
When a theater produces Death of a Salesman , it’s not unknown territory. The director can adopt, adapt or depart from what has been done before. But when it’s a world premiere such as Palm Beach Dramaworks’ upcoming Lyle Kessler’s House on Fire, there are no roadmaps other than the still evolving script about which even the playwright is making discoveries during rehearsal.
It’s unfair to the Maltz Jupiter Theatre’s Beauty and the Beast — which is as thoroughly charming on its own merits as you could ask — but understandable that the focus is diverted to its use of puppets to portray the enchanted household objects. So, yes, the vision that Producing Artistic Director Andrew Kato and director John Tartaglia came up with does indeed work, .
Usually in “fish out of water” comedies, the fish are surprised to find themselves out of the water and spend most of the evening trying to get back to familiar aquatic climes. But in the hilarious new musical The Prom, the fish knowingly leap out of the bowl, certain that their unique skills will be a long-desired boon to the camels and Bedouins.