Despite the title , the musical Romance, Romance is not so much saccharine as bittersweet. In two playlets set in separate times, locales and social strata, we see true love blossom but ultimately surrender to socially-sanctioned cynicism or fidelity to an existing marriage. Slow Burn Theatre Company has found the groove connecting the disparate pieces in which love is precious but doesn’t always prevail.
The strength of the acclaimed 2006 play Froist/Nixon is that no one is depicted in pure white hats or black hats. That facet is brought out in the Maltz’s production better than in any earlier edition thanks to a complex multi-faceted creation by actor John Jellison under the impeccable direction of J. Barry Lewis.
If you’re going to stage a dorm debate about the meaning of life, religion, science, suffering, love, guilt, and the loveliness of the universe, it would hard to find two more interesting contestants than Albert Einstein and Franz Kafka. Playwright Mario Diament’s Franz & Albert does a reasonably intriguing job fictionalizing a meeting that likely happened in 1911 Prague.
At the marrow of Eugene O’Neill’s masterpiece Long Day’s Journey Into Night at Palm Beach Dramaworks is its compassionate sorrow that the ultimate human tragedy is the death of hope. The final tableau of four devastated souls irrevocably adrift in the fog-bound damnation of inescapable failures and unconquerable frailties is an endgame so harrowing that the audience can hardly breathe.
It might drip with sentimentality, but Riverside Theatre’s Over the River and Through the Woods will nudge out a few tears and win you over, due in no small part to the handsome and well-acted production.
Actors’ Playhouse pulls out all the stops to mount its annual winter centerpiece production. Director David Arisco molded a troupe of actor-singer-dancers who deliver a vibrant evening remarkable for its prolonged sections of power and verve.
Sometimes, as with Marquee Theater’s Jekyll & Hyde, the performances are so powerful that you forget the material isn’t worthy. Wildhorn’s pop-infused power ballad-addicted aesthetic divides fans. But there’s no ambivalence in this company’s enthusiasm and strong performances of Ben Sandomir in the title roles and, Alexandria Lugo as Lucy, the hooker-with-a-heart-of-gold and vocal-chords-of-steel.
If Arthur Miller were also a doctor on the side, he might have written a play like Unlikely Heroes. A family drama full of long-harbored resentments and new ones stemming from intimate secrets revealed, this world premiere on view at Boca Raton’s Mizner Park Cultural Arts Center also hinges on a potentially fatal condition that will require an organ donation
Arts Garage’s Reborning is a thought-provoking work hints at many weighty topics—the anxieties of pending motherhood, the conflicting desires to both nurture and destroy, the futility of trying to re-create what is lost—but none are fleshed out to a degree of dramaturgical satisfaction.
Broward Stage Door’s edition of Carnival, featuring one of the loveliest scores in the canon, under Dan Kelley’s experienced hand features a hard-working cast, some of whom have fine voices doing adequate justice to the gorgeous score and lyrics, but that alchemical enchantment just isn’t there.