MNM Theatre Company’s filmed cyber-distributed pandemic production of Closer Than Ever needs no excuses, no politely lowered expectations. Just as it would if produced live in an intimate venue, this effort mesmerizes and moves with the emotional power of performers acting this song cycle rather than performing them as if they were in a cabaret setting.
Thinking Cap Theatre, “a steadfast champion of gender, racial, and sexual equality on- and off-stage,” is using their current, strong world premiere production of Laced as a “Get Out The Vote Theatre Initiative.”
The Helen in Helen on Wheels is Helen Wheeler, a spirited, allegedly 70-something widow who speaks her mind and challenges anyone who crosses her as she continues to mourn her husband. But Helen on Wheels, from Pigs Do Fly Productions is more than an amusing story about a feisty widow. It also looks at the devastation of losing a loved one, of moving on with your life and keeping your independence.
Oh, those mean girls. If you were unlucky to encounter them, they made your high school days unbearable, humiliated you so you felt inferior and tried to dictate who your friends were. They weren’t fun to be around—even if you were in their inner circle. But Mean Girls, the Broadway musical making its South Florida premiere at the Broward Center through March 15, sure is fun
Gay men, characterized as deviants in 1920s New York City, populate prolific playwright Ronnie Larsen’s new musical, Come Out! Come Out! at the Wilton Theatre Factory. Come Out! Come Out! is experiencing its world premiere in a vivacious production with promise, but needs more development.
Home is the place where they have to take you in, to paraphrase Robert Frost. It’s also the place where every family dynamic plays out — love, resentment, growing pains, conflict, chaos, worry and secrets — as shown in the Maltz Jupiter Theatre’s superb production of Brighton Beach Memoirs, smoothly directed with a first-class cast, the Maltz production hits all the high notes
While the Broadway Palm production of Beauty and the Beast at Lauderhill Performing Arts Center will elicit giggles from the kids, this local edition is a surprisingly satisfying evening even for the adults thanks to fine voices, a live band and a cast that is fully invested in the work – not simply overacting for the less demanding children.
Does it ever get boring being in the room where it happens?
No, it does not, as illustrated from the moment Aaron Burr begins recounting the story of this lad from the Caribbean who became one the United States’ Founding Fathers in the tight, engrossing production of Hamilton at the Adrienne Arsht Center for the Performing Arts through March 15.
Something unexpected is on Riverside Theatre’s mainstage: A straight play. That’s right, no big box office-guaranteed lavish, toe-tapping musical Instead, patrons are getting well-developed characters, witty banter, heart-rending confrontations and the satisfaction of a good play well done in Neil Simon’s Lost in Yonkers.
Thinking Cap Theatre’s stunning production of Beckett’s Happy Days, offers an unmitigated triumph of a performance by Karen Stephens expertly molded by Nicole Stodard, but to say this absurdist bleak work is not for everyone is a gross understatement. Some will downright hate it. Others will be transfixed. Few will escape without considering whether how we use the time of our lives is meaningless.