Aunt Jack, S.P. Monahan’s world premiere play at Empire Stage, rejects pigeonholing sexuality with a single label or category. Sexual identity is what you choose it to be and Monahan champions paradigms that cannot be categorized by initials.
Breaking Up Is Hard To Do — which hangs a plot or two around 18 of the songs by 1960s pop icon Neil Sedaka, is the perfect swan song to close this chapter of the Broward Stage Door as it gets ready for its new home.
Woody Guthrie’s American Song is most decidedly a people’s musical, at least in its vivifying production at Palm Beach Dramaworks is more of a communal hoedown with Guthrie’s music as the soundtrack. Even the songs about poverty, death and hard living hide notes of hope, if we can only come together to find them.
For all the raunchy scenes in Michael Mizerany’s new play The Big D, the message at the weepy comedy-drama’s heart is serious and sincere. Sure, the characters engage in hard-core, unabashed horseplay and sex. Indeed, there’s a primitive, intense physicality. But this much is certain: The couple in Mizerany’s touching play with pathos and humor literally love each other to death.
If there’s any way to get folks to the theater who don’t usually go, Slow Burn’s Rock of Ages can do it. Director/choreographer Patrick Fitzwater knows exactly how to squeeze every inch of character out of this cheesy, goo fest of a jukebox musical to entertain aforementioned non-theater types, who can’t wait to re-live the glory days of the 1980s, of which the soundtrack of the show relies.
In the lovely confines of The Vanguard, Yasmin Reza’s modern classic Art comes to life in New City Players’ finely curated production.
When did yesterday’s renegades, who skirted AIDS and lived boheme on a ramen noodle diet in the go-go eighties, become today’s get-off-my-lawners? These questions, and plenty more, linger between the lines of Mr. Parker, Michael McKeever’s elegant dramedy world-premiering at Island City Stage.
Laura Turnbull in the solo show The Pink Unicorn from Primal Forces places us in the headspace of a widowed mother in a small—and small-minded—Texas suburb who transforms into an unwitting advocate for gender liberation.
In the current production of The M Ensemble Company, August Wilson’s legendary Seven Guitars almost plays like a musical or a folk opera akin to Porgy and Bess or Floyd Collins.
Into the Woods’ disturbing second act occurs in a boy’s nightmare in Lightning Bolt Production’s riveting, pulse-quickening production at the West Boca Performing Arts Center. Director Jessie Hoffman has re-imagined the musical from the narrator’s perspective. That character, who in this production is a 12-year-old boy, plays a larger role than in other mountings.