The musical may have been around for decades, but Riverside’s triumphant production of Evita proves that the show has a strong universality that rings as loudly today as it did 40 years ago. The show brims with exhilarating invention and the fresh point of view by its director/choreographer Marcia Milgrom Dodge.
Whether you have seen A Shayna Maidel before, Chicken Coop Theater at Levis JCC Sandler Center does a fine job keeping intact Lebow’s touching drama and its very definite Holocaust theme. But this production goes one smart step further, finding more universal themes of love and loss, parents and their relationships to their children, and the bond of siblings.
Having Our Say is likely the first play in which both of its characters are centenarian women of color. At Primal Forces’ regional premiere, this means two roles of uncommon heft and history for Karen Stephens and Avery Sommers.
It took Main Street Players’ lethargic production of Superior Donuts about 20 minutes to show much signs of life, and even then the primary electricity came from one actor as a young man ablaze with ambition and hope. This theater has gifted us with some fine work such as Bad Jews. But little voltage sparks across this story about hopes and dreams.
Hamilton, which explodes with power, vitality and imagination in the Broward Center for a five-week run, is not the Second Coming as many overheated observers would have you believe. But this tour from Broadway Across America demonstrates why this musical epic is a watershed work that may well transmute mainstream theater for a decade to come.
The Christmas season officially opened this weekend wrapped in pink. Elle Woods, leading a perky singing and dancing ensemble in Slow Burn Theatre Company’s ebullient Legally Blonde, lit up the Broward Center with a positive attitude that probably allows that Santa Claus might yet exist
Much like the holiday season itself, there are things to endure and other instances that are jolly. That’s the mixed bag of City Theatre’s Winter Shorts now playing at the Carnival Studio Theater at the Adrienne Arsht Center for the Performing Arts.
Soul and spirit are characteristics we would expect from a production of the multi-Tony-winning musical The Wiz. And, to be fair, Stage Door Theatre’s mounting is, at times, spirited, hip, sassy and soulful. Several scenes feature vivacious acting and expressive singing. But too often, this production is tedious and even moribund.
The script and the production of Palm Beach Dramworks need some refining, but when it’s most in the pocket, the world premiere of Lyle Kessler’s House on Fire dances a delicate pas de deux between comedy and tragedy, tension and levity, verisimilitude and whimsy, operating in its own subgenre of magic realism aka screwball existentialism.
It’s not that it’s impossible to mess up the musical Annie, but when you have a reliable troupe of talented hands like those connected to the current Wick Theatre production, you are guaranteed an entertaining evening.