The world premiere of the musical Boca Bound written by, about and for well-heeled senior condo residents of what is called here a “country club” summons up a raft of adjectives intermittently applicable: cute, charming, funny, and yes, entertaining if you happen to be a senior condo dweller. It’s also predictable, not terribly subtle, clichéd, not especially engaging and wouldn’t succeed anywhere other than the Tampa-St. Pete condo circuit.
Area Stage Company’s Matilda is not really a children’s musical, although children will have a fine time when they are not storing up nightmarish images for future midnights. Matilda’s witty lyrics, satirical jibes and a multi-level script with psychological overtones are really aimed at those parents bringing their children.
When Man of La Mancha is performed as well as MNM Theatre Company’s production, then the magic is savoring how the innate worth of ideals ultimately prevails over an all-too-recognizable world of violence and evil. Its message does not ignore the profound power of darkness, it avers that its virtues can transcend the darkness, and that their pursuit is an informed choice.
There are plays that you may have seen ithat, when you experience them in today’s environment, bring more of a tear then they might have 10 years ago. This is the experience with JCAT’s Driving Miss Daisy — an underlying reality that some of the experiences that many of us thought, probably Alfred Uhry, too, when he wrote it in 1987, would be reflective are once again front and center.
Sitting in Circle In The Square’s deep-thrust proscenium-less theater, it’s inescapable that director Daniel Fish and his team have gone way, way out of their way to let you know that this is (to repeat an oft-used phrase) not your grandma’s Oklahoma! — even before the show starts, and then aggressively tossing paradigm-shifting trope-trashing curve balls at the audience.
Theatre Lab’s family-friendly production of When She Had Wings posits a young girl, convinced she could fly before she could walk, trying to regain her power of flight.
Oft-produced plays can sometimes be a groaner to sit through, yet again. How many more laughs can be extracted from the same story line and same characters? However, sometimes a production squeezes out even more juice. That’s exactly what TheatreWorks Silicon Valley had done with a top-notch, vaudeville-inspired production of The 39 Steps.
For theater folks and movie buffs, the title is a giveaway, Clemenza & Tessio Are Dead. Those with a knowledge of theater will think of Stoppard’s Rosencrantz and Guildenstern are Dead, also Shakespeare’s duo in Hamlet, and movie fans may remember the secondary characters, Tessio and Clemenza, from 1972’s The Godfather film
By Bill Hirschman The ominous omens in New City Players’ energetic and passionate Macbeth actually portend promising things for South Florida theater. The rarely spoken of deficiency in offerings and performance in local theater is Shakespeare. Only a handful of …
Fathers — becoming one, being one and losing one — are the connective tissue of Sea Wall/A Life, the emotional double bill of two one-acts currently at the Hudson Theatre . While the performance of movie actor Jake Gyllenhaal may be the initial draw for many theatergoers, he is not the star. The two scripts are.