More current than the classic AIDS plays written three decades ago, Donja R. Love’s ‘one in two’ examines the challenges of with HIV-positive when talk shows have ads for pills that make the virus “undetectable” and restore the freedom to have casual sex or make love.
Eytan Deray’s courageous world premiere Educating Asher at Empire Stage – courageous not only because it has been drawn from the marrow of his being as playwright, but courageous because he also performs it, unreined and uninhibitedly without any self-serving censorship.
Main Street Players struggles bravely to conquer Lee Blessing’s satire on race and privilege in Black Sheep, but stumbles on tonal uncertainty. and fails to reach the script’s potential.
So when the political player at the center of a 1978 musical is a conscienceless, ambitious, charismatic and manipulative “populist” with a media background, 2022 audiences should be forgiven for hearing deafening echoes in Evita at PPTOPA
A raft of country classics are interspersed in this clear-eyed yet affectionate bio-musical Hank Williams: Lost Highway at Actors Playhouse tracking the rise and collapse of the music legend.
In the 84-year-old Ruben Rabasa, a tall skinny but gnome-like looking creature brimming with life and humor, GableStage audiences are treated to a wild and quirky interaction with this winning clown in Rubenology: The Making of An American Legend.
Rarely has immigrants’ connection to their past and future been so fully realized in a passionate embrace as in this premiere of Papá Cuatro at Miami New Drama. It is, by turns, alternately rousing, soulful, humorous, thrilling; but always a moving celebration of Venezuelan music refracted through the backstories of world-class exiled musicians.
Darius Daughtry and Grace Arts Center reimagine The Merchant of Venice in 1940s Fort Lauderdale to examine tensions when when infighting exists within the African American community.
The world premiere in Miami of Borrowed examines with emotion and specificity the lasting tragic damage of father-son and son-father relationships that imploded years earlier. With copious violence, sex and profanity, Jim Kierstead’s first script is far from subtle but also unafraid to look deep into complex legacies wrought by ancient family dysfunction.
In the charming, big-hearted Broadway musical, Head Over Heels, Slow Burn Theatre Company delivers a visually striking, lively, and credible production.