The Wick Theatre’s production of A Funny Thing Happened On The Way To The Forum benefits from Stephen Sondheims’s score and lyrics, but the cast and director need to inject more vaudevillian humor to overcome the material’s inherent sexism,
Awash in issues of Arab-American assimilation and Anglo antipathy, GableStage’s Disgraced is the classic contemporary example of the topical, thought-provoking drama that forces you to revalidate, even reexamine your perception of the tumult around us.
If you like your theater schematic, clear-cut and requiring little cogitation, you will absolutely hate A Map of Virtue. But if you don’t mind wrestling with a production while it’s underway, if you enjoy trying to dope out what it meant on the ride home, then Thinking Cap’s production may well intrigue, perplex and unsettle you if you let it.
Broward Stage Door’s earnest intriguing revival of Promises, Promises embraces its up-to-the-moment pop score for 1968, a witty and insightful script, frenetic choreography that caught the zeitgeist of the time, and some deceptively subtle performances to become a wildly-popular hit just as the social fabric of the country was in transition.
The surprisingly impressive bow of the new Marquee Theater Company with its production of the pop musical Aida is notable for, among other things, the professional debut of its star, Alexandria Lugo
Killer Joe, playwright Tracy Letts’ 1993 debut writ large in feral violence and bottomless venality, is such a powerful brew of toxicity that the script carries along an uneven production at Andrews Living Arts.
For those among us who enjoy going deeper than what’s presented on the surface, Annie Baker’s The Aliens from Alliance Theatre will be a treat. For others, the silences and pacing will be an exercise in head scratching and perplexed moments in the space of two hours of WTF?
What is endlessly worth examining and celebrating is how human beings cope with tragedy and what that says about who we are, what we are capable of and some insightful guidance on how our souls can survive as well as our bodies. These are among the themes of Tsunami, the world premiere by Nilo Cruz and Michiko Kitayama Skinner, a moving work of glorious theatricality t.
The crucial test for whether a production of The Fantasticks truly succeeds, as Broward Stage Door’s does, is the last few minutes. If it’s been a little while since you saw the show live and yearn to try to remember, this will do very nicely.
The collision of two never-subtle art forms in Bed and Sofa is certainly intriguing as befits Outré Theatre Company’s mission of fearlessly pushing the boundaries of theater, thanks in part to the commitment of Outré’s directors and performers. But this bizarre entry never lands solidly.