In a bit of serendipitous synchronicity with the sequel of Blade Runner and the reboot of Westworld, Primal Forces’ production of The Good Girl explores the complexities of humans creating creatures with artificial intelligence by asking who is influencing who in a world in which technology and humanity are so intertwined.
Perhaps you’ve seen The Sound of Music once too often. But if you have fond memories that seek reawakening or if you have never seen it on stage as opposed to the film, this is an enthusiastically recommended effort.
For a show that shattered a ceiling in 1983, La Cage aux Folles has become a warhorse in 2017. MNM Productions’ edition embraces the spangles, glitz and sheer Jerry Herman of it all. So if you haven’t seen it in a while, this is an entertaining reminder. What sets this apart is how it emphasizes the heart rather than the heat – and that’s a welcome emphasis for those who may have seen this classic once too often.
GableStage’s production of The Humans is like watching a Kmart photo department family portrait that has been left too near a wall heater. Almost imperceptibly, the edges start to brown, the image shudders a bit, then the edges curl ever so slightly. And suddenly, the perfect image erupts in flames.
Joy suffused the house on the “opening night” of the national tour of On Your Feet! the bio-musical about Emilio and Gloria Estefan. Part of the palpable elation pouring both ways across the footlights was simply that it was “our” story and “the cast’s” story being celebrated. “Our” refers to far more than Latinos, or immigrants, or minorities, or Miamians, although it’s about them, too.
City Theatre’s production of Building the Wall opens with audio of then-candidate Donald Trump spewing some of his more incendiary anti-immigration rhetoric. The first line has yet to be spoken, and already you can feel your blood pressure start to rise.
Conjuring the lowbrow folderol of an early 20th century burlesque, Steve Martin’s adaptation of this 1910 German sex comedy Underpants performed by Main Street Players is all too quaint for our hedonistic age, with our ever-loosening broadcast standards and our debauched president.
An Octoroon is the kind of art that defies a Siskel & Ebert thumbs up / thumbs down assessment. You can praise or fault elements of the script or a production, but Area Stage Company’s courageous effort reinforces An Octoroon’s overarching intent as a thought provocateur.
A quarter-century on, the temptation is to r reinterpret Oleanna, David Mamet’s incendiary screed about toxic relations between men and women. But Evening Star Productions’ rendition in 2017’s not-so-brave new red state world underscores Mamet’s original politically incorrect indictment of political correctness spun insanely out of control.
Talent, energy and enthusiasm strut across the Broward Stage Door production of Saturday Night Live – The Musical. Unfortunately, this company does not have enough of those virtues to rescue this misconceived material that should stayed a film.