Looking at faded and listening to primitive , you wonder what productions were really like live when vaudeville was surrendering to legit Broadway. The proud, answer is fired back in spectacular style from the The Music Box theater on Broadway where Shuffle Along fuses breathtaking, dancing, glorious music and a social message into a seamless whole.
Hair never was and isn’t now accurate reportage on the 1968 counter-culture,any more than Oklahoma was a faithful account of homesteading on the eve of statehood. But what the raw material got right and MNM Productions’ engaging edition gets right at the Kravis Center is the infectious vitality, youthful optimism and the genuine sense of communal love.
A double sense of “life after death” pervades the touching and beautifully rendered The Tin Woman drama suffused with wit now playing at Actors Playhouse as spring slides into summer.
The characters and themes of The Flick — the newest production opening at Mad Cat Theatre next week — were so fresh and crucial that it kept director Paul Tei from abandoning straight theater.
Evening Star Productions and Infinite Abyss Productions deliver the 249th South Florida edition of the inarguably hilarious aggressively irreverent hoot. The cast successfully seduces a willing audience that could care less that some people can’t sing, some people can’t act and that the whole thing is somewhat sloppy in execution.
Terry Teachout’s play Satchmo at the Waldorf on view at Palm Beach Dramaworks — and directed by Teachout in his first at-bat, comes close to allowing that communion with the unvarnished, uncensored and complex human being beneath the sunny, grinning creation that the world adored as Louis Armstrong.
Validation – the affirmation that what you valued has worth – is one of the most powerfully effective facets of entertainment and art.
That may be the overwhelming virtue of Beautiful – The Carole King Musical whose national tour is enjoying a splendid visit to Broward Center.
The opening scene of Will Eno’s The Realistic Jones, as staged by Thinking Cap Theatre, is one of the funniest things I’ve seen in years.
Charm, that most underrated of quiet virtues in a theater of brassy belters and in-your-face spectacle, suffuses the vagaries of a 24-year love affair in Broward Stage Door’s appealing revival of the gentle Same Time, Next Year.
When a theatrical production’s scenery, lighting and costumes get as much attention as the characters, chances are the story is a bit slim. You see that clearly with Riverside Theatre’s eye-popping Sister Act, a co-production with the venerable Walnut Street Theatre of Philadelphia.