In Waiting For Godot, that classic of the Theater of the Absurd, nothing is more absurd than Man’s insistent search for some meaning in life. In Evening Star Productions’ courageous run at this Everest of a play, their response is broad comedy suffused into the intentionally pointless and protracted slog that is Beckett’s brilliant but unsettling manifesto of existentialism.
There have been few musicals about a homicidal maniac. As far as peppy musical comedies with the accent on comedy, there’s only been one about a schizophrenic serial killer, No Way To Treat A Lady. Broward Stage Door has taken on this off-beat tuner about a put-upon detective tracking a failed actor who dons different personas to get in the apartments of lonely ladies he plans to strangle.
Jordan Harrison’s Marjorie Prime at Main Street Players posits 21st Century technology giving people a chance to say what was left unsaid, to finish unfinished business. The insightful script for the Pulitzer finalist will resonate deafeningly with Baby Boomers caring for parents edging into senility or who have already lost their parents.
Just about two years after Island City Stage premiered Michael McKeever’s Daniel’s Husband and it currently playing off Broadway, Island City Stage takes on another world premiere play that has the makings of what could be a successful regional theater offering.
Palm Beach Dramaworks’ production of Arcadia is Tom Stoppard’s love letter to the miracle of human intelligence’s pursuit of learning — with a gentle jab at the hubris of those who are so taken with that pursuit.
Zoetic Stage’s brilliantly-executed bravura production of Harold Pinter’s 1960 The Caretaker may be as baffling as Waiting For Godot. But every element of this comic drama is superb from acting that embraces Pinter’s notorious silences to the fluid staging to the evocative set design to the transcendent lighting.
Niki Fridh gives a tour de force performance under Nicole Stodard’s direction in Grounded at Thinking Cap Theatre
Dry Powder, GableStage’s excoriating tour that delves into the barren ethical landscape of big business is an unsparing drama whose copious humor comes from one character’s blithely limitless ability to do anything to maximize the bottom line with absolutely no concern for the human cost of her proposals.
Although the Actors’ Playhouse folks are working very hard to master this Everest of a play, All The Way, about Lyndon Johnson’s campaign to pass the Civil Rights Act of 1964, this time they have barely fought the work to a standstill.
Merman. Lupone. Daly. Lansbury. Taking not a scintilla away from those iconic performances, you have never seen a Mama Rose like the one Vicki Lewis incarnates in Maltz Jupiter Theatre’s unique but masterful take on Gypsy.