By Bill Hirschman The dictionary translates the Latin phrase “sui generis” as “constituting a class of its own,” but more commonly it’s used to mean “not like anything else,” often with the implication of excellence. The expression insinuated itself over …
The easiest way to grasp a sense of the Festival, its styles and ethos is to recount and review the individual productions we saw during a trip last month. Hidden within may be insights that can be adopted by South Florida theaters.
A deeply polarized citizenry, partisans with irreconcilable ideas about the role of government, a stalled deliberative body, confusion, anxiety. Sound familiar? The current political climate has spurred Palm Beach Dramaworks to reinvent that July perennial musical 1776 to highlight the similarities between us and the Founding Fathers in its production July 1-24.
For about three seconds Sunday night, the Tony Awards broadcast a pre-recorded glimpse of Miles C. Wilkin and slipped in a sentence saying that he was receiving a “Special Tony Award. But Wilkin, a native Floridian now returning to live in South Beach, has been one of the people who transformed the quality and amount of theater that the rest of the country has seen in their communities over four decades.
When Danny Burgos steps on the Broward Center stage on June 15 in the national tour of Beauty and the Beast, the moment will resonate for him as few have before. It was on those same floorboards that Burgos saw his first professional production ever, a tour of The Phantom of the Opera that his stepmother took him to when he was in seventh grade.
Some show business legends say they were born in a trunk offstage in between the matinee and evening performances. Daisy O. Tanner can’t quite say that. But the two-month-old daughter of acclaimed local actors Shane and Amy Tanner will make her stage debut on Friday, June 10 in a staged reading of Tony Finstrom’s new play with music Wave Your Flag at Lynn University.
The ever-developing Summer Shorts Festival, now entering its 21st year in Miami, will sound a bit different this year: two of the ten-minute works will be musicals.
The characters and themes of The Flick — the newest production opening at Mad Cat Theatre next week — were so fresh and crucial that it kept director Paul Tei from abandoning straight theater.
If his resume wasn’t already unusually diverse for a theater critic, it might seem strange that Terry Teachout is adding “director” to his hyphenated professional description when his play Satchmo at the Waldorf opens this month at Palm Beach Dramaworks.
The score of Beautiful – The Carole King Musical encompasses a dozen hits from the ‘60s and half of the iconic Tapestry album. But bookwriter Douglas McGrath assures theatergoers that this is not a revue or even a weak pretense of a plot to hang a catalog of songs upon like Mamma Mia.