For some reason, Six Degrees of Separation has fallen off the radar of regional theaters mounting semi-contemporary plays that depict and dissect the angsty zeitgeist of modern life. But the Broadway revival at the Barrymore was a clear reminder that companies in South Florida ought to consider this trenchant expose of 50 Shades of Neediness.
The stage is a fungible place. Sets can transform, actors can fly, characters can break walls, especially the fourth. There is limitless potential in the blank canvas of floorboards and lighting, as Stuart Meltzer’s gently experimental The Goldberg Variations reminds us at Island City Stage.
The skill, power and imagination that Kevin Black, Ben Bagby and their colleagues have invested make Swing! Swing! Swing! as good or better than any other revue that Broward Stage Door has produced. back in time.
Splendidly gorgeous to watch, the creativity of the staging is reason enough to embrace Finding Neverland at the Broward Center On a deeper level, though, there’s something profoundly moving about this drama that’s imagined in a different time and place, yet somehow seeps into modern reality. Perhaps there is such a thing as pixie dust.
If you wonder what the term “coup de theatre” means, it’s easier to illustrated it with a moment from the new Paula Vogel-Rebecca Taichman play Indecent.
The final tear-inducing five minutes of Beauty and the Beast, if executed effectively as it is at The Wick Theatre production, is a good barometer of whether you’re dead inside.
City Theatre’s Summer Shorts, which only recently began showcasing musicals, includes three this year including one by Lin-Manuel Miranda.
Granted, a farce documenting the doomed efforts of a hapless British theater troupe already has been brilliantly explored in Noises Off. But there is hilarity yet to mine as evidenced by The Play That Goes Wrong.
The wobbly foundations of fledgling New City Players’ production of David Auburn’s reliable Proof are unlikely to impress seasoned theatergoers, especially those who have seen the play before. From questionable acting choices to frantically paced direction, this Proof only conveys the broad strokes in Auburn’s filial drama.