Skylight might seem just an intriguing play focusing on an older widower trying to rekindle a relationship with a younger woman with whom he was having an affair with while he was married. But David Hare’s drama to open at Palm Beach Dramaworks is far deeper and more complicated. Emotions are with conflicting socio-economic-political attitudes on a dozen very timely topics, all colliding in passionate verbal sparring.
You are invited to a wedding this month, well, a theater experience recreating a wedding. It may seem at first blush not your everyday wedding with the title Diego & Drew Say I Do, but actually it’s not the sexuality of the grooms that promise an unusual celebration. The plan is for the nuptials to be more notable for the carrying on of the guests than for the same-sex partners.
When Christopher Demos-Brown’s racially charged drama American Son — which has played in other cities and bowed on Broadway — finally opens this week at Zoetic Stage in Miami, it will be, as director Stuart Meltzer says, “a homecoming.”
In the current Broadway stratosphere, several leading actresses belie the idea that there are no more Carol Channings or Ethel Mermans. But it’s hard to argue that other than Audra McDonald, there is no regularly working actress held in as much awe and adoration as Kelli O’Hara whose sparklin soprano sparks superlatives from fans, critics and colleagues.
Seth Rudetsky is living the dream of every theater geek, except that he is not an outsider, he is an insider who doesn’t name drop to impress; they are his colleagues and friends. The effervescent Rudetsky is bringing to the Parker Playhouse his unique unscripted events in which he and a boldface performer schmooze, share backstage stories and create impromptu duets from the guest’s songbook. Up first Jan. 3 Kelli O’Hara
Other than two crippling developments, South Florida theater 2019 was marked by a wide array of what seemed like points on a volatile stock market chart marking the ebb and flow of an evolving arts community. Welcome to our annual idiosyncratic highly-subjective look back on the year.
This past summer, tens of thousands of African-Americans from around the U.S. and other countries as well jammed 12 venues in Winston-Salem, North Carolina to savor more than 30 tragedies, musicals, comedies, movement pieces, and revues produced by predominantly black theater companies .
When tackling A Streetcar Named Desire, it’s impossible for artists to ignore the 1951 film that made a movie icon of Marlon Brando and provided the last great role for Vivien Leigh. But director J. Barry Lewis, actors Danny Gavigan and Kathy McCafferty don’t fear an audience with vivid memories of the film, they welcome it.
In this tarnished time of disaffection, divisiveness and abandoned ideals, the synergistic resonance of the musical Man of La Mancha is more than a welcome opportunity for director Bruce Linser. The hope-laden messages of aspiration for a better world could not be more timely than this month when MNM Theatre Company mounts the classic musical at the Kravis Center.
It took a crushed femur for Boca Raton resident Bonnie Logan to find her passion – writing for the stage. Indeed, if Logan hadn’t broken the thickest bone of the human skeleton, she wouldn’t be preparing to mount her first theater piece, Boca Bound: A New Musical. The world premiere run from Sept. 19-22 at Boca Raton’s Wick Theatre.