Author Archives: Bill Hirschman
The surprisingly delight-filled musical Groundhog Day is well worth seeing on Broadway but the script, music, lyrics and replicable staging (all Tony-nominated) are so strong, so inventive, so infectiously winning that this show will not only tour but will be a unexpected success on the road if word-of-mouth plays any part.
The temptation is to announce that ‘a star is born’ in Actors’ Playhouse’s production of the musical It Shoulda Been You. But that would be mildly insulting to the fact that Cindy Pearce has been working on local stages about 14 years, most memorably as Penelope Pennywise in Slow Burn Theatre’s Urinetown.
The MNM production of Monty Python’s Spamalot is silly and stupid.
Thank goodness. This edition of one of the funniest musicals of the past couple of decades revels in, savors, exults, wallows in the anarchic wacky vibe enshrined in the source material, the film Monty Python and the Holy Grail.
Palm Beach Dramaworks’ team finds the special vibe of Martin McDonagh’s dark comedy set in an unforgiving climate of the heart in The Cripple of Inishmaan.
To avoid spoiling the specific emotional U-turns, all that veteran theatergoers need to know about The Cripple of Inishmaan opening at Palm Beach Dramaworks this month is that it’s a classic exemplar of the Martin McDonagh oeuvre that alternates raucous raunchy wit and heart-searing tragedy, sometimes punctuated with bloody violence.
The din of cheering, hollering teenagers exploding Tuesday wasn’t to applaud the appearance of a hip-hop celeb. Instead, the tumult in the Broward Center recognized excellence in 25 public and private schools through Broward and Palm Beach counties recognizing achievement in theater by high school performers, designers, technicians and critics at the 15th Cappies Awards.
War Paint is primarily an opportunity to savor two of Broadway’s reigning divas Ms. Patti Lupone and Ms. Christine Ebersole commanding the stage with overwhelming power in volume and skill. This show will not last ten minutes after one or both leave (no matter which boldface name replaces them) and it will not (or should not) tour. So see it now in New York because double acts of this quality don’t come around often.
Trump may have paraded his demeaning objectification of women by using the word pussy, but it’s a word celebrated over and over in Thinking Cap Theatre’s production of Collective Rage, A Play in Five Betties.
Playwright Jen Silverman and her disparate characters all named Betty use the term to reinforce the liberating quality of having pride in female sexuality.
Thinking Cap Theatre is presenting the Southeastern premiere of Jen Silverman’s Collective Rage: A Play In Five Betties, a timely tale of feminism echoing last winter’s women’s march on Washington.
Damaged by yet another homogenized film version of Rodgers & Hammerstein’s work, few think of The King and I as a piece deeply focused on incipient feminism, international politics and the challenge of leadership. But the national tour at the Arsht Center of the Lincoln Center revival underscores how prescient this was when it was written in 1951.