Tag Archives: Adrienne Arsht Center
In-depth report: Sets still standing on stages are silent pledges that these productions and theater itself in South Florida will resume – albeit in what many believe will be a different world. But what that cultural world will look like for audiences and artists could not be more uncertain, say theater professionals who have had to rethink and rethink again their plans. It’s different from when other disasters have struck Florida like hurricanes; this one may be open-ended.
The Coronavirus is closing some shows in South Florida theater, and causing the indefinite postponement of others, including the eagerly awaited world premiere musical A Wonderful World at Miami New Drama and the Carbonell Awards gala.
Does it ever get boring being in the room where it happens?
No, it does not, as illustrated from the moment Aaron Burr begins recounting the story of this lad from the Caribbean who became one the United States’ Founding Fathers in the tight, engrossing production of Hamilton at the Adrienne Arsht Center for the Performing Arts through March 15.
Another round of 2020-2021 season announcements has arrived with some promising titles — this time from Primal Forces and the Maltz Jupiter Theatre – plus a headline-making offering from Broadway Across America at the Arsht Center: Hadestown.
American Son at Zoetic Stage doesn’t offer solutions to the complexity of race so much as explore with increasing intensity the exact craggy contours of the gulf. Christopher Demos-Brown’s play brings the audience alongside those struggling with the conflicting and seemingly irreconcilable pressures on not just African-Americans but everyone awash in the social maelstrom.
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.
There’s not much in life that you can say this about, but the national tour of Hello, Dolly! is everything you hope it will be. For anyone under the age of 50 who wonders if the so-called Golden Age of Musicals was, in fact, all that Golden; for those who have seen Hello, Dolly! about three times too often – this is for you.
In Zoetic Stage’s premiere Dracula, the vampire is a sexist pig (as are several men in the play). The protagonists are strong-willed proto-feminists. Together, they embody a society struggling with re-envisioning what self-empowered women can and should be. Michael McKeever’s script as directed by Stuart Meltzer presents social commentary told with droll, wry and self-aware humor, and the retelling of the classic horror narrative.
They are unlike any trials you have ever seen on Law & Order. Zoetic Stage’s world premiere of Christopher Demos-Brown’s Wrongful Death And Other Circus Acts is a hilarious but merciless satire on the civil legal profession by, indeed, setting the evening in and as a highly stylized circus.