Monthly Archives: February 2013
Maltz Names Next Season: Other Desert Cities, Annie, Chorus Line, The King And I
The Maltz Jupiter Theatre, with its reputation as a quintessential mainstream house, will mix up its 2013-2014 season with titles dating back decades and the hottest play on Broadway last year: Dial M For Murder, Annie, A Chorus Line, The King and I and Other Desert Cities plus a benefit concert by Brian Stokes Mitchell.
Side Show Burns With Passion About Love Among Outsiders
There is more passion pouring off the stage in Slow Burn Theatre Company’s thrilling Side Show than in ten other musicals we’ve seen in the past year put together. That may result in one too many deafening power ballad after power ballad for some tastes and eardrums, but for those wanting to be touched by a poignant, but very dark tale skillfully delivered, Side Show is a powerful example of what the modern musical can be.
Dramaworks’ Raisin Starts Slow But Builds To Emotional Crescendo Of Yearning
It starts slow, so slow that you fear it may never get going. But when Palm Beach Dramaworks’ A Raisin in the Sun finally gets rolling, the emotional wallops arrive in every deepening wave of gut-wrenching, heart-rending passion, arguably all the more potent for having emerged from such a quiet, prosaic run up.
Parade’s The Whole Caboodle: Clever Plays & Talented Cast Dragged By Confusing Concept
Parade Productions’ collection of short plays by Michael McKeever, The Whole Caboodle, has the makings of a terrific evening of theatre, but an added conceptual element prevents the show from fulfilling its potential.
FGO’s Offbeat Magic Flute As Funny As It’s Beautifully Sung
In a classic opera depicting the battle between intellectual enlightenment and romanticism with allusions to ancient Masonic rituals, you don’t expect a character to exclaim, “Mrs. Robinson, are you trying to seduce me?” But this is director Jeffrey Marc Buchman’s whimsical take on Mozart’s The Magic Flute, one of the most popular operas of all time, in part, because its inherent irreverence begs to be enhanced with goofball humor and imaginative re-interpretations – both of which mark the Florida Grand Opera’s edition.
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