Reviews

Outre’s Nightmarish ‘Back Of The Throat’ Exposes How Post 9/11 Paranoia Allows Abuses

The temptation is to describe the nightmarish Back of the Throat as Kafkaesque as Outré Theatre Company depicts an America gone mad. But it’s not. That’s the real horror. The extremities unfolding before the audience are a logical if artistically exaggerated extrapolation of the paranoia and xenophobia unleashed against Arab-Americans after 9/11. It’s naturalism not surrealism.

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The Last Romance At Stage Door Twinkles With Realism

Broward Stage Door Theatre has mounted a warmly delightful production of Joe Di Pietro’s The Last Romance, a bittersweet play about love, loss and loneliness and how the twilight years hold out that last hope for the shimmer, twinkle and spark of love’s first bliss.

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Performances In Slow Burn’s Carrie The Musical Prevail Over Flaws In Script And Lyrics

The primary pleasure of Slow Burn Theatre Company’s run at the legendarily miserable (but subsequently overhauled) musical Carrie is enjoying how glowing talent, unbridled earnestness and total commitment provides a worthy reason to watch what remains a flawed piece of raw material.

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Teo Castellanos Solo Show Digs Deep, Gets Personal

Teo Castellanos’ solo work Third Trinity, a commissioned work by Miami Light Project, is bold in its presentation, mostly because it’s an autobiographical story of Castellanos’ growing up — a story that, when said aloud, is like something out of a movie. Castellanos thought that too.

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UM And Arsht’s Theater Up Close Embrace Sublime Silliness In Peter And The Starcatcher

Peter and the Starcatcher, an alternative origin story for Peter Pan, is an ensemble piece featuring a dozen chameleonic storytellers, each with moments in the spotlight. But Theater Up Close’s profligately imaginative romp features standout performances by student Abigail Berkowitz, and veteran Nicholas Richberg

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Dramaworks’ Quiet, Insightful Our Town Is Worth Investing Your Attention, Imagination

For such a seemingly simple play, Our Town requires the audience to generously invest their attention and imagination. Thornton Wilder’s classic only works when its visitors travel more than halfway there. But for those willing to make that journey, the gossamer delicate play can vibrate the heartstrings and the synapses.

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New Theatre’s Cuban Spring Plumbs How Generations Define Their Identity As Cubans

The overall picture may seem a bit disjointed and fuzzy, but the world premiere of The Cuban Spring at New Theatre incisively depicts the complexities of Cuban-American families in modern Miami as their American-born generation conflicts with parents struggling with ghosts of their birthplace.

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Love and Lust Rage In Fatal Triangle In Actors’ Playhouse’s Rock Opera “Murder Ballad”

Every couple of years, Actors’ Playhouse – home of the mainstream musical –mounts an edgy modern work that nourishes the creative soul of the theater’s more adventurous patrons like next to normal and Floyd Collins. Add to that list the cult rock opera Murder Ballad that mixes love, lust, loss, passion, fury, pain and violence in a fatal triangle as old as Mankind but as current as last week’s tabloid.

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An Unabashedly Heart-Warming Revival Provides Fine Debut For Davie’s Issie Swickle As Annie

Why see Annie yet once again? First is director Martin Charnin has banished the saccharine overkill and played the remaining cuteness and heart-tugging moments against a grimy, downtrodden Depression that should resonate today. Second, savor the national bow of Davie’s Issie Swickle as she nails the title role with thechops of someone a lot older than her nine years.

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Slow Burn’s Wonderettes Is ’50s Prom Punch With a Bit Of A Kick

Slow Burn Theatre Company’s The Marvelous Wonderettes at the Broward Center is a sweet and tasty cotton candy confection of girl group standards from 1950s and 1960s delivered by four terrific actress-comedienne-singers.

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