A gay teenager leading a religious-based choir at a regimented prep school for African-American boys is a perfect theatrical metaphor for an individualist struggling to square his uncompromising self into a society built upon conformity. Immeasurably elevated by thrilling music performed live in five-part harmony, a depiction of this difficult dance is the premise playwright Tarell Alvin McCraney’s Choir Boy in GableStage’s intriguing production.
At the end of Florida Grand Opera’s beautifully performed and comical edition of the Mozart farce Cosi Fan Tutte, you’ll want to take the heroes into a dark alley and beat them with a two-by-four.
By successfully depicting the sadistic emotional vise that the heroines are crushed in, director Bernard Uzan and a glorious cast intentionally or unintentionally gut the opera’s blithe misogynistic ethos.
With Bonnie & Clyde, Slow Burn Theatre Company has found the strengths in a “troubled” work and forged an entertaining even intermittently thrilling work. It keeps nudging upward the level of quality and polish without sacrificing a commitment to tackling edgy, difficult work that few would attempt.
M Ensemble’s production of The Gift Horse has praiseworthy virtues and crippling problems that make it a mixed experience. But it does give the audience a long-delayed gift in Carey Hart’s scintillating, poignant performance as a witty but troubled woman seeking true love.
I and You has one of the least promising elevator pitches: teenagers studying the poetry of Walt Whitman discover that the eternal cycle of life and death is less inscrutable or meaningless than it seems. But as Arts Garage’s production illustrates, Lauren Gunderson’s play succeeds as both a droll dark comedy and an insightful, even moving inquiry into mortality.
The Maltz Jupiter Theatre’s revival of The Wiz is among the most lavish spectacles ever put on by a regional theater in South Florida with its prime virtue being the boundless imagination of a huge team led by the vision of Maltz’s Producing Artistic Director Andrew Kato.
Spangles sparkle in the spotlight as styling showgirls parade across the stage in a musical celebration of enduring love, joie de vivre and self-respect – which proudly encompasses adherents of every sexuality. The Wick Theatre’s revival of La Cage aux Folles has everything that its last musical, Mame, was missing – beginning with showbiz pizzazz.
John Manzelli plays a harried scheduler at a trendy restaurant — and about 40 coworkers and patrons — in Fully Committed at the Broward Center
Mad Cat Theatre’s daffy deconstruction of a 1966 Neil Simon The Star Spangled Girl elicited plenty of laughs, but the schizophrenic clashing of styles didn’t land as strongly as anyone hoped
Disney, for all its theatrical sins, deserves credit for at least one benefit: You can see what your parents were talking about when they raved about the magic of some theatrical piece from back in the day. Because the return of The Lion King shows Disney knows how to keep that magic alive.