The temptation is to announce that ‘a star is born’ in Actors’ Playhouse’s production of the musical It Shoulda Been You. But that would be mildly insulting to the fact that Cindy Pearce has been working on local stages about 14 years, most memorably as Penelope Pennywise in Slow Burn Theatre’s Urinetown.
The MNM production of Monty Python’s Spamalot is silly and stupid.
Thank goodness. This edition of one of the funniest musicals of the past couple of decades revels in, savors, exults, wallows in the anarchic wacky vibe enshrined in the source material, the film Monty Python and the Holy Grail.
Palm Beach Dramaworks’ team finds the special vibe of Martin McDonagh’s dark comedy set in an unforgiving climate of the heart in The Cripple of Inishmaan.
War Paint is primarily an opportunity to savor two of Broadway’s reigning divas Ms. Patti Lupone and Ms. Christine Ebersole commanding the stage with overwhelming power in volume and skill. This show will not last ten minutes after one or both leave (no matter which boldface name replaces them) and it will not (or should not) tour. So see it now in New York because double acts of this quality don’t come around often.
Trump may have paraded his demeaning objectification of women by using the word pussy, but it’s a word celebrated over and over in Thinking Cap Theatre’s production of Collective Rage, A Play in Five Betties.
Playwright Jen Silverman and her disparate characters all named Betty use the term to reinforce the liberating quality of having pride in female sexuality.
Thinking Cap Theatre is presenting the Southeastern premiere of Jen Silverman’s Collective Rage: A Play In Five Betties, a timely tale of feminism echoing last winter’s women’s march on Washington.
Damaged by yet another homogenized film version of Rodgers & Hammerstein’s work, few think of The King and I as a piece deeply focused on incipient feminism, international politics and the challenge of leadership. But the national tour at the Arsht Center of the Lincoln Center revival underscores how prescient this was when it was written in 1951.
Revelation after revelation – none of which the playwright wants us to spoil – are exposed like the proverbial peeling of an onion until the underlying secret lays naked in the world premiere of Ben Andron’s Broken Snow at the J’s Cultural Arts Theatre in North Miami Beach.
Broward Stage Door’s production of the musical Nine, based on Fellini’s 8 1/2, is a fine evening of exuberant music and even more soaring voices.
Opera is all about technique, spotlighting it, honoring it, celebrating it. So when Florida Grand Opera took on one of the most demanding works in the entire canon, Verdi’s A Masked Ball, it wisely hired accomplished singers whose polished skills are as dazzling by themselves as watching Olympic figure skaters.