Features
Arsht and Chicago Company Hope Death & Harry Houdini Mixes Theatrical Magic
The melding of narrative metaphors and stage magic are emblematic of the spectacle infused in the play Death and Harry Houdini, another imagistic work from the House Theatre of Chicago and the Arsht Center for the Performing Arts opening this week. Last year, Arsht vice president Scott Shiller brought the House production of The Sparrow to Miami, notable for its highly stylized brew of acting, video, music, singing, lighting, sound and imaginative staging.
Mosaic Play Looks At Teen Violence In Premiere Of A Measure of Cruelty
To clarify misconceptions, the drama formerly entitled The Michael Brewer Project did not end up being specifically about Michael Brewer. A Measure of Cruelty, having its world premiering at Mosaic Theatre on Thursday, only uses the burning of the Deerfield Beach teenager in 2009 as the inciting incident, said playwright Joe Calarco and director Richard Jay Simon.
On the Boards Podcasts: Slow Burn’s Fitzwater and Korinko
We initiate a new feature this week: A series of podcasts interviews produced by Arts Radio Network featuring Florida Theater On Stage’s Bill Hirschman interviewing region theater figures in Palm Beach County. While some interviews are tied to upcoming or current projects, each tries to dig deeper into the rich South Florida theater scene. The production is engineered by Arts Radio co-founder John C. Watts. It is also available at http://artsradionetwork.com/
Director and Star Seek Fresh Spin on Hello Dolly at the Maltz
Director Marcia Milgrom Dodge and actress Vicki Lewis face that old psychology experiment: Imagine there’s an elephant in the room. Now ignore the elephant in the room. In their case, the elephants, plural, are Carol Channing and the iconic Gower Champion production of Hello, Dolly! engraved in the minds of much of the audience coming this month to see the warhorse at the Maltz Jupiter Theatre.
Color Blind Casting Poses No Obstacle To Filipino-American Dancing As British Billy Elliot
Initially, it’s impossible to ignore that 15-year-old actor J.P. Viernes leaping and soaring through the musical Billy Elliot is not a typical youngster in a downtrodden unsophisticated mining village in northeast England in the 1980s. John Peter Viernes, with a broad grin and flashing eyes, is inescapably a Filipino-American with caramel-colored skin and half-moon eyes. But by all accounts, his infectious charisma, joyous dancing and sheer acting skills successfully banish most audience members’ resistance to the color-blind casting within a few minutes.
Boeing Boeing Marks Long-Term Partnership For Promethean & Nova’s Theater Department
Book-learning and collegiate productions provide theater students the basics of the craft they hope to follow, but The Promethean Theatre is providing Nova Southeastern University students with real world experience that is far more rigorous and revealing than class work.
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