While David Sedaris’ The SantaLand Diaries has its share of funny, when his script stoops low for laughs, he dashes all the other precious gifts he doles out in this very inventive one-person show. Yet there are reasons to see Empire Stage’s production of the adult-tinged, bah-humbug holiday theater tradition.
The Maltz Jupiter Theatre’s sumptuous and skillful production of Annie resembles that strange holiday gift that you’re not quite sure how to react to. It’s beautifully wrapped and artfully manufactured but it’s missing the magic and heart you were secretly hoping for.
The Radio City Christmas Spectacular at the Kravis Center is, unlike much in life, precisely what its reputation promises. Start with spectacular, derived from the word spectacle. Nearly 40 people on stage tapping, swirling or gracefully gesticulating while crooning to familiar tunes played by a lush if not live orchestra through 12 scenes.
Hallelujah, children! We are delivered from the bondage of political correctness, the oppression of reactionary repression and the tyranny of the status quo. Raise up your voice and praise the bringer of these blessings — the national tour at the Broward Center of the Broadway musical, The Book of Mormon.
Like walking toward a great work of art at the end of a hallway, the magnificence of GableStage’s production of My Name Is Asher Lev grows slowly as you approach it, as you spend time with it, delving deeper until the accumulated detail of its brushstrokes reveals its full splendor.
A solid cast molded by director Hugh M. Murphy adds Alfred Uhry’s The Last Night of Ballyhoo to the quietly growing list of solid productions that Broward Stage Door has been accumulating in recent years.
New Theatre’s world premiere of Megan Breen’s examination of sexual repression and liberation, My First, My Fist, My Bleeding Seeded Spirit is a well-intentioned but overheated, self-indulgent, ham-handed, pretentious misfire.
There’s a warm and comforting triple promise in The Wick Theatre’s pre-Thanksgiving production of the musical White Christmas. One is that the promise of the coming holiday season, a second is the promise that this entertaining production will work out the kinks within a few days and the third is the promise that the Wick is on its way to becoming a reliable source of mainstream theater.
Inarticulate people hold forth in a bar in a torrent of existential philosophy and metaphorical verbiage in John Patrick Shanley’s Savage In Limbo at the Alliance Theatre Lab. But if Shanley lets them go on way too long, it’s undeniable that this cast wrenches at the audience’s heart as they depict humanity’s fundamental yearning to change their lives and find “something better.”