Theatreworks USA’s touring production of The Lightning Thief is what results from mixing a young adult classic with a rock concert vibe à la Rent: a sometimes intense, yet always laid back feel-good romp that will leave audiences wishing that they, too, had a Greek god as a parent.
Even writing about it the next day, the warmth still glows. In this time, to quote a lyric from another show, “of cold and darkness, in this terrifying night,” the affirmation of basic human decency engendered by the national tour of Come From Away stays comfortably nestled inside, nurturing hope for the future.
The Wedding Singer musical is a lively winning goofball vibe poking good-natured fun at that geological era known as “The ‘80s” in the inaugural offering of Jolt Productions, a professional company in Boca Raton.
Intentional or not, Slow Burn Theatre Company producing Priscilla, Queen of the Desert at the height of Pride Week, near the 50th anniversary of the Stonewall riots, is the ultimate synergistic commentary. Its edition of the reliably infectious feel-good musical rises another level into a conscious celebration of identity. Indeed, pride unfettered and unabashed explodes with the pure joy.
The national tour of A Bronx Tale is proof that if producers hire enough really talented people, you can make an inarguably entertaining musical out of damn near anything.
Sisters opens and closes exactly as expected – two women from disparate socio-economic backgrounds spar and clash, but two hours later have bonded over the common need to remake their lives. But the affecting journey between those points is far from some simplistic television movie of the week.
Creatures with the kind of quick wicked wit you only wish you had, the kind who rarely let pass the opportunity for a pithy exit line, populate Rich Orloff’s Veronica’s Position in Island City Stage’s thoroughly entertaining production.
This 24th annual Summer Shorts festival of short plays scores as the most consistent, polished and satisfying work beginning to end that City Theatre has produced in recent seasons.
Actors’ Playhouse’s Doubt is not about guilt or innocence. It’s about doubt. The nature of doubt. The fallout of doubt. Living with doubt. Deciding whether to act when you have doubt. In these extreme days when some people believe truth is fungible or fear that it is can never be divined, John Patrick Shanley’s 2004 play is excruciatingly resonant.
Few plays have been as ruthlessly photographic depicting the pornographic incest of lobbying and corruption as well as the clash of idealism and pragmatism as Sarah Burgess’ Kings, currently on the dissection tray at GableStage.