If producers mount the musical Dreamgirls, it’s a given that they have hired as Effie some astounding young diva capable of punching a hole in the back of the auditorium with her melisma. Indeed, Broward Stage Door has the Cat 5 voice of Sarah Gracel to headline this 35-year-old rousing examination about the interplay of fame, pop music, racism and the dangers of pursuing the American Dream.
In this uncertain world, the ever-changing standards of what life is or even should be make it nearly impossible to chart a path forward when we have less idea what might be ahead than Columbus. That may be one of the takeaways – there are likely a half-dozen more — from the nightmarishly dark but hilarious 2014 comedy Hir bowing at Island City Stage.
Slow Burn Theatre Company’s rollicking race-down-the-hill production of Peter and the Starcatcher is a joyful hoot packed with more sight gags, puns, pratfalls, wordplay and even a bit of wistfulness than arguably any other recent work including the current The Play That Goes Wrong.
The cat and mouse game in Zoetic Stage’s Topdog/Underdog moves as swiftly and cunningly as the two characters’ dexterity in the shell game, which in this case is three-card monte, a street hustle card con. This is already one of those must-sees.
Love Never Dies is a sequel if not the equal to Phantom of the Opera from Broadway Across America at the Broward Center, but Andrew Lloyd Webber’s attempt for lightning to strike twice, while inherently flawed, is undeniably a lush, gloriously passionate and entertaining exercise that is exactly what it wants to be.
David Arisco has directed Evita for Actors’ Playhouse three times. So, what’s different this go ’round? Well, to hear him tell it, the Andrew Lloyd Webber-Tim Rice musical, written four decades ago about a celebrity turned power hungry politico in mid 1940s Argentina is even more relevant than ever.
Maltz Jupiter Theatre’s season-opening rendition of Born Yesterday can’t pave over the script’s glaring weaknesses, but it amplifies the source material’s progressive strengths. Director Peter Flynn has mounted a handsome and drum-tight production anchored by a pair of note-perfect leads.
From its upbeat tunes to soulful longings, Hank Williams: Lost Highway takes Riverside Theatre audiences on a revealing musical story about one of America’s most important country singers.
Amazingly, in 2017 with its video games, alt right-antifa strife and uber-sophistication, Our Town is still our town. And no more so than in Miami New Drama’s inventive and often touching production that underscores the values of community in a time when our country seems as divided as it has ever been.
Right off the bat, Broward Stage Door’s Tickling the Ivories shows the artistry of the piano wizards and of the inventiveness of a show that turns the typical musical revue theme on its ear.