Inside baseball describes the wry and witty It’s Only A Play, if you’re one of us who can name all six shows that earned Tony nominations for Kelli O’Hara. But if you’re one of the tens of millions who can’t, you aren’t going to get a tenth of the potential pleasure out of this overhauled, updated revival of Terrence McNally’s 1982 paean to the glorious narcissistic and divine misfits who populate theater.
“Dark comedy” usually refers to a blithely cynical or whistling-past-the-graveyard attitude, but in the hilarious and unnerving Hand To God the darkness is pure visceral evil.
From Elizabethan actors lining up ala A Chorus Line with oil paintings for their headshots, to a preening rock star Shakespeare spouting his greatest hits to a sycophantic crowd, Something Rotten is a non-stop unabashed hoot of silly, sophomoric, sometimes simply stupid feast of unalloyed hilarity.
Professionalism is the only explanation why this much talent—the cream of South Florida theater from the director to the cast to the creative team — invested itself so deeply into the flawed frippery of The Book Club Play at Actors’ Playhouse.
Broward Stage Door’s quite serviceable but not bewitching production of this 1951 fantasy love story doesn’t feel especially magical in the first act, but it locates the right bag of pixie dust in the second act to show why director Michael Leeds wanted to do the play.
Veil after veil are slowly stripped away from the elegant sophisticated stage persona that is “Billie Holiday” until standing exposed is a blunted devastated victim of racism, sexism and abuse – some imposed and some self-inflicted — in Palm Beach Dramaworks’ incisive Lady Day at Emerson’s Bar and Grill.
If God is omniscient, He must be inconsolably sad. Zoetic Stage’s superb production of Harold Pinter’s Betrayal puts its audience in that poignant and painful position in which Knowledge is, indeed, the poisoned apple in Eden.
After love, compassion has to be the highest virtue of humanity. That tender melding of sympathy and forgiveness for human failings and their resulting tragedy suffuse the transcendent musical Fun Home, a front runner for the Best Musical Tony and numerous others.
We were tough last week on the national tour of Anything Goes. If those folks want to know what we were hoping to see, they should take the day off and drop in on what The Wick Theatre is doing with Dames At Sea with a fifth of the resources.
Florida Grand Opera’s production of Gian Carlo Menotti’s The Consul is somehow far more emotionally potent than fairy tale stories of ancient star-crossed Egyptian beauties and 19th century abandoned Japanese naifs wailing repetitively in languages you don’t understand.