As live arts and entertainment return in fits and starts, and our culture continues its tortoise crawl toward normal, one thing has become apparent: Face masks may be vital in impeding the spread of COVID-19, but they equally hamper the spread of comedy. The debut of Zoetic Schmoetic showed the more physical the show becomes—the more the actors’ bodies, not their voices, drive the storytelling—the better it gets.
Most biographies factually mirror the life and times of their subject in a chronological narrative. But few mirror the complexity and structure of the subject’s own work with the stunning faithfulness of Hermione Lee’s exhaustive and exhausting epic examination of one of the greatest playwrights in English or any other language, Tom Stoppard: A Life.
Every emotion associated with pregnancy and pending parenthood is present in the 95 minutes of Hannah Manikowski’s smart and promising play Compensation. In fact, most of them appear on the playbill cover photo for Island City Stage’s world-premiere production, an image that encapsulates the disconnected expectations that propel the drama.
Area Stage revives its imaginative 2018 production of Shrek the Musical as conceived, directed and designed by Giancarlo Rodaz, but with mostly new cast members, on an outdoor stage near its new home at a shopping center.
It was only a matter of time until one of South Florida’s most experimental companies would find a way to produce theater outside of a theater. Nine months into a pandemic, the sheer existence of Miami New Drama’s experiential short-play collaboration 7 Deadly Sins feels as surreal as it is miraculous.
MNM Theatre Company’s filmed cyber-distributed pandemic production of Closer Than Ever needs no excuses, no politely lowered expectations. Just as it would if produced live in an intimate venue, this effort mesmerizes and moves with the emotional power of performers acting this song cycle rather than performing them as if they were in a cabaret setting.
Thinking Cap Theatre, “a steadfast champion of gender, racial, and sexual equality on- and off-stage,” is using their current, strong world premiere production of Laced as a “Get Out The Vote Theatre Initiative.”
By Christine Dolen ArtburstMiami.com Pre-pandemic, Thaddeus Phillips was a man most often in motion, traveling from his Colombian home base near Bogota for directing work in Europe, or performing his own theater pieces throughout the United States and elsewhere. In February, as …
The paradigm of theater as a co-creative art is repeatedly depicted in Bob Avian’s autobiography Dancing Man, an engrossing account of the creation of theater seen from the inside in an illuminating tale told with the fair clear-eyed vision of someone who loves the art and the artists but who rejects wearing rose-colored glasses.
The Helen in Helen on Wheels is Helen Wheeler, a spirited, allegedly 70-something widow who speaks her mind and challenges anyone who crosses her as she continues to mourn her husband. But Helen on Wheels, from Pigs Do Fly Productions is more than an amusing story about a feisty widow. It also looks at the devastation of losing a loved one, of moving on with your life and keeping your independence.