Author Archives: Bill Hirschman
A citizens’ group that pushed for 14 months for a larger, more ambitious complex for the Coconut Grove Playhouse resurrection project has shelved its plan indefinitely because the Miami-Dade County administration opposes the idea, the group’s leader said Thursday morning.
Slow Burn Theatre Company’s Rent is ambitious, daring, electric and 2 1/2 hours of non-stop rock ‘n’ roll — a no-holds barred, take chances, go-out-on-a-limb spectacle. But when stripped of the spectacle, the characters, some facing death, with others living in the shadows of HIV/AIDs, lack life.
Sister Act is not a terrible musical; it even has amusing and mildly entertaining passages. But the national tour at the Arsht Center is also a head-shaking mediocrity that begs an answer to why talented theater veterans wasted their time – and ours – on it.
The American Theatre Critics Association (ATCA) has selected Rebecca Gilman’s Luna Gale as the recipient of the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, recognizing playwrights for scripts that premiered professionally outside New York City during 2014. …
The Magnificents, The House Theatre of Chicago’s production that’s playing inside the intimate Carnival Studio Theater at the Adrienne Arsht Center, is pure and simple and classic entertainment.
By Michelle F. Solomon If the House Theater of Chicago’s Death and Harry Houdini was about neglecting life in the pursuit of conquering death, The Magnificents is the other side of the coin. “The Magnificents is about a guy who …
The Wick Theatre’s Oklahoma! is an apple cheek fairy tale , a broad musical comedy sprightly painted with bright vibrant colors that will not fail to entertain if you let it. Not only will this decidedly mainstream production not annoy most pre-Sondheim patrons, they will embrace it with a joyous “this is what we want to see” reaction.
The central tenets of Baruch de Spinoza’s rationalist ethos are explored exhaustively and exhaustingly in GableStage’s intriguing production of David Ives’ New Jerusalem which surely counts as the textbook definition of “thought-provoking theater.
Aerialists contort their muscles aloft on trapezes. Tumblers leap through hoops. Performers juggle knives and fiery torches. And somewhere under all that flash and glitter is the beloved Pippin that generations of nascent theater fans have cherished as “their” musical.