The Riverside Theatre in Vero Beach has come up with a solution—build its own housing for professionals which has become a major expense for many theaters.
The Golden Gate Bridge, cable cars, Alcatraz, all beckon visitors. Yet in the popular consciousness, theater in San Francisco does not strike many as a stand-alone reason to book a week there. But a recent visit proved that the Bay Area is a cornucopia of dynamic and challenging theatrical offerings — even worth passing up tourist traps like Fisherman’s Wharf.
Indisputably, regional theaters have been a significant wellspring for new plays reaching back 30 years. But a quickening sea change has occurred quietly but demonstrably over the past decade: Regional theaters – once reliant on warhorses and the latest New York hit — have become the primary incubator and showcase for new work in America
Pigs Do Fly Productions — which has done mostly short plays by, for and about people 0ver 50 — has jumped even deeper into the play-ing field by presenting the world premiere of Michael Leeds’ Impressions, which opens this weekend.
A production of Dreamgirls was already planned for the Miramar Cultural Center’s summer season, but became the perfect “launching pad” for the City of Miramar’s First Annual Broadway Festival of South Florida.
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.
When idea-hungry audiences at Palm Beach Dramaworks who have cheered Ionesco and Albee are faced with something less challenging, some complain to Producing Artistic Director William Hayes that they can see that fare elsewhere. They will get their wish in extremis this month with Tom Stoppard’s Arcadia.
Disgraced, a drama dissecting ethnic relations in post 9/11 America, already has become one of the most produced plays in regional theaters over the past three years. But the Maltz Jupiter Theatre’s production opening this week obviously could not be more timely, although it was announced a year ago and penciled it before that.
Most courtroom dramas metaphorically use the audience as a jury. But Terror, a German play receiving its U.S. premiere from Miami New Drama this week, literally requires the audience to vote on the defendant’s guilt or innocence to determine the outcome of the play.
The 21st Century paradigm for developing new plays in on display this month at Palm Beach Dramaworks’ Dramaworkshop “developmental” production of Jennifer Faletto’s Domestic Animals.