The American Theatre Critics Association (ATCA) has selected Rebecca Gilman’s Luna Gale as the recipient of the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, recognizing playwrights for scripts that premiered professionally outside New York City during 2014. …
The utterly charming new show at Actors’ Playhouse is a musical for, by and about the 21st Century Urban Neurotic Young Adult in that eternal crucible of awkward human relations: the “First Date.”
An Opinion Piece By Spencer Stewart. Mr. Stewart has objected to many aspects of our review of Miami Theater Center’s production of The Seven Year Itch and has views about the value of criticism in general. We felt that the in our commitment to dialogue, we should publish with his permission his thoughts verbatim
They had me from hello, or at least from the wailing wall of distinctive sound given unprecedented power in the opening bars of Motown the Musical. It erupted like molten lava from the pit at the Broward Center: driving percussion, ripped out bass line, brassy horns, warbling guitars, muscular strings.
Seeking “Who am I?” is the defining journey of most lives, and our religious heritage is part of the solution, even if we don’t embrace that religion or its culture. Such is the soul of Stars of David: Story To Song, a musical revue, which, despite its cripplingly kitschy title, is a surprisingly entertaining, witty and poignant look at how Jewish-Americans struggle on that journey.
The beauty of the one man play Wiesenthal at Broward Stage Door Theatre is it’s more of an immersive theater experience than history lesson, actor/playwright Tom Dugan has the audience. eating out of his hand
There’s a warm and comforting triple promise in The Wick Theatre’s pre-Thanksgiving production of the musical White Christmas. One is that the promise of the coming holiday season, a second is the promise that this entertaining production will work out the kinks within a few days and the third is the promise that the Wick is on its way to becoming a reliable source of mainstream theater.
The power of storytelling – swapping tales on the porch or watching a familial drama unfold on stage – is the keystone of AAPACT’s production of August Wilson’s Fences. The earnest edition noticeably lacks the Shakespearean power of other productions, but the accretion of calamities grows through its second act until the audience is moved by the tragedy.
Critics are congenitally awash in self-doubt when they adore something. But to heck with it. Slow Burn Theatre Company’s profoundly moving production of the musical next to normal is about as good as it gets in South Florida theater.
Photos of the Slow Burn Theatre Company production next to normal by Gemma Bramham.