Thinking Cap Theatre director Nicole Stodard and her fine trio of actresses have inarguably produced an engrossing emotional and intellectual puzzle to stimulate the heart and mind in Precious Little.
The snappy, bubblegum musical Legally Blonde has come to energetic life at Riverside Theatre, bringing laughs to the unjaded and knocking at the heart of the weary.
Hearing that Area Stage Company is mounting The Wizard of Oz might make childless theatergoers pass. It would be their loss. Director Giancarlo Rodaz, his inexhaustible cast and creative crew have constructed a charming, witty and entertaining riff whose sterling quality is how they resourcefully solve staging problems that otherwise would require a far bigger budget.
When the 9 to 5 bowed in 1980 , the movie about women rebelling against being taken advantage of was downright funny, even if the injustice and sexism it depicted was universally acknowledged as all too common. The musical version revived by Slow Burn Theatre Company is still pretty funny, but in the wake of the #metoo movement, it inherently contains a bit more topspin on the revenge fantasy against behavior now deemed inexcusable.
Florida Grand Opera does daring works (we’re looking forward to the upcoming final two of the season, Frida and Werther), but, to satisfy audiences who prefer to see the familiar, there is company’s latest offering The Marriage of Figaro (Le nozze de Figaro).
The John S. and James L. Knight Foundation has awarded $2 million to Miami-Dade County to complete the project for GableStage-FAU’s theatre department to rebuild and reopen the Coconut Grove Playhouse.
The ground-breaking record-breaking Tony-winning Pulitzer-winning musical Hamilton is expected to attract unprecedented numbers of fans and newcomers when the national tour arrives at the Broward Center this month. But that raises a dozen logistical challenges, starting with where will as many as 2,600 people attending each show at the main Au-Rene theater find places to park, and how will officials handle potential traffic jams?
The insightful examination in the play One Night in Miami from Miami New Drama depicts four different approaches used by African-American icons — Malcolm X, Jim Brown, Sam Cooke and the champ then known as Cassius Clay — to awake America to racial injustice and to demand equity when they met in February 1964.
Confessions of a Nightingale spends time listening to Tennessee Williams escorts visitors through a rambling tour of his life. Actor Christopher Dreeson and director Jeffrey Bruce have worked very hard shaping this fascinating material, which is inherently rewarding, but two problems dog the production.
Worse than Spiderman Turn Off The Dark, the mega-epic The Big Bang may be the most bloated, overwrought, inept, politically incorrect, painfully lame, downright stupidest musical of all time. That Big Bang would be the imaginary extravaganza being hawked at a fictional backer’s audition, not the identically-named romp now at Actors Playhouse and just as delightfully daft and demented as it was there in 2003 and 2005.