Rodgers + Hammerstein’s Cinderella is a lush, imaginative and polished production nearly guaranteed to delight audiences of all ages. That said, if you’re looking for Rodgers and Hammerstein’s Cinderella in “Rodgers + Hammerstein’s Cinderella,” you’re going to have to look very, very hard in the new tour.
Loaded with lots of laugh lines and inside theater jokes, POZ at Island City Stage has some supremely likeable characters. Yet there’s just something a little bit too snappy about this world premiere. It tries just a bit too hard, especially when convincing the audience that this lively cast of characters are real people with real problems.
After a half-century of sympathetic portraits of Hedda Gabler as a woman suffocating in a sexist societal straightjacket, Miami Theater Center gives us a cool, manipulative, self-centered creature whose primary complaint is she’s bored.
Bodies seem to fly through the air and end up in a plethora of entwined positions worthy of a terpsichorean Kama Sutra in The Wick Theatre’s thrilling musical revue Swing. Indulge yourself in one of the most energetic and uniformly talented dance corps we’ve seen here in many a year.
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.
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.
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.
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.
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
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.