The procession of savannah creatures –magnificent lions, leaping, a lithe leopard, soaring birds and a story-high elephant – strolling up the through aisles and onto a theater stage in the opening scenes of The Lion King is still breathtaking no matter how many times you’ve seen it.
The highly theatrical, superbly effective United Flight 232 presented by the House Theatre of Chicago makes a strong ending to the Arsht Center’s Theatre Up Close series for the season.
Viva La Parranda! from Miami New Drama is more than a documentary play. It’s a microscopic and humanistic look inside a Venezuelan town, El Clavo, and singer Betsayda Machado has become the voice of El Clavo. During the lively original musical, it’s difficult to imagine the latest news of a city an hour and a half away, right now, so filled with violence.
Jules Massenet’s dramatic opera Werther is short on action, and its cast of characters limited. But it does have a reputation, however, of being the most French of French operas, and what has gained the 19th century work this reverence isn’t in its storytelling about the lovelorn poet and the woman he can’t have, but in the music.
Always…Patsy Cline at the Wick Theatre gifts the audience with recreations of about two dozen hits from the iconic country singer’s catalogue. But while the music is undeniably entertaining, this weirdly hybrid bio-musical also delves into the nature of fandom.
The snappy, bubblegum musical Legally Blonde has come to energetic life at Riverside Theatre, bringing laughs to the unjaded and knocking at the heart of the weary.
Sometimes the star of the show is the words.. Main Street Players does a credible job bringing life to the comedy 37 Postcards, but its prime virtue is Michael McKeever’s hilarious script, replete with witty lines, classic vaudevillian timing and copious opportunities for actors to do more slow burns than Jack Benny.
In recent years, while producers and designers of Broadway musicals have found subtle ways to slim down the overall effort on national tours. But Broadway Across America’s current sit-down of Anastasia at the Broward Center seems as visually and aurally stunning as the 2017 Broadway edition.
Hearing that Area Stage Company is mounting The Wizard of Oz might make childless theatergoers pass. It would be their loss. Director Giancarlo Rodaz, his inexhaustible cast and creative crew have constructed a charming, witty and entertaining riff whose sterling quality is how they resourcefully solve staging problems that otherwise would require a far bigger budget.
Lust, anger and anguish pour out of urban millennials with like molten liquid gushing from an open fire hydrant in the new Measure For Measure Theatre’s production of the chamber rock opera Murder Ballad at the Broward Center