Tag Archives: Adrienne Arsht Center
The question that patrons and colleagues have kept asking critics with trepidation during the past week or so is whether they should invest more than 9 3/4 hours and $150 for each ticket to see the House Theatre of Chicago’s epic three-play production comprising The Hammer Trinity as part of the Arsht Center’s Theater Up Close series.
There are two crucial and easily misunderstood aspects to comprehend about The Hammer Trinity, a piece of epic storytelling playing eight weekends at the Arsht Center beginning this Saturday, produced by the hyper-imaginative House Theatre of Chicago and commanding a $150 ticket.
There’s something interesting about seeing at the Arsht Center a national tour of the 30-year-old Phantom of the Opera for the who-knows-which time. It’s amazing that people who have performed show three hundred times have not lost their edge as even the best professionals do over time. Instead, they have discovered all the colors and nuances possible in the work, and deliver them with confidence and brio.
The national tour of Kinky Boots was a well-polished evening of musical comedy with soulful ballads and glitzy production numbers, but this construction felt so manipulative, so by-the-numbers as if it, too, came off a factory production line.
It’s fortunate that Newsies is a dance-centric musical because much of the lyrics and dialogue were nearly impossible to understand in the national tour visiting the Arsht Center from Broadway Across America. But that dancing is spectacular and well-worth seeing.
By Bill Hirschman The primary thing usually missing from a Cirque du Soliel show is a discernable plot. Lookingglass Alice, slipping into the Arsht Center’s spectacle-driven summer extravaganza slot, may not have the multi-million-dollar budget and scope of those Vegas …
Intriguing premises are the jumping off points for the nine flights of theatrical whimsy in City Theatre’s annual festival of short plays, Summer Shorts. While no discernable thread runs through the disparate works, the deftly comic playlets are shot through with a striation of poignancy, and the moving entries are leavened with flashes of humor.
The Magnificents, The House Theatre of Chicago’s production that’s playing inside the intimate Carnival Studio Theater at the Adrienne Arsht Center, is pure and simple and classic entertainment.
By Michelle F. Solomon If the House Theater of Chicago’s Death and Harry Houdini was about neglecting life in the pursuit of conquering death, The Magnificents is the other side of the coin. “The Magnificents is about a guy who …
After 11 years and counting on Broadway, a decade on the road and on its seventh visit to South Florida, some of the magic should have vanished from the musical Wicked. But the tour has not only maintained much of the magic, but arguably is even more heartfelt and polished than its predecessors.