Tag Archives: Angie Radosh
Six months into the pandemic, theater artists are struggling with a profoundly damaging dimension particular to their purgatory-like limbo: The calling that gives their lives meaning requires interaction with other people in the same room. Late this summer, 33 South Florida storytellers agreed to draw back the curtain on their backstage battles that form the spine of an all too real three-act drama.
There may never be as great a production of The Music Man as the lightning-in-a-bottle original with performances of Barbara Cook and Robert Preston. But the Wick Theatre edition led by Norb Joerder and starring John Tartaglia and Julie Kleiner is as satisfying and entertaining a holiday treat as you could ask for.
How do you review a play without spoilers when perception-changing revelations occur every few minutes including one halfway through that shoves the play in a 90-degree angle? Just trust us that GableStage’s The Children – eco-thriller, horror story, tale of domestic trouble, and a half dozen other themes – is a stunning experience melding playwriting, direction and acting.
Few theatrical challenges are as a daunting as actor taking on an iconic role made unforgettable by an inimitable talent in a career-making performance engraved in the popular consciousness. But actress Stephanie Maloney has surmounted that peak in her unassailably solid and personalized incarnation of Fanny Brice in The Wick Theatre’s Funny Girl.
Maltz Jupiter Theatre’s An Inspector Calls focuses with laser intent on what the evolving socialist J.B. Priestley saw as its thematic marrow — all individuals have an inescapable responsibility for the well-being of every other human being, and that privileged classes seem obscenely inured to that duty.
Local stages have some special programs running for only one or two days starting tonight including Palm Beach Dramaworks, GableStage and Arts Garage.
A top drawer cast marks an unusually but intentionally bare bones production of Dan Clancy’s new play Middletown tracking the arc of four lives.
Curtains is a show designed for anyone who loves musical comedy, or anyone who has ever played Toto in a community theater production of The Wizard of Oz. Envisioned as a no-calories hoot of a love letter to the quirky dysfunctional denizens of the theater, it is accurately promoted with tongue firmly in cheek as “A New Backstage Murder Mystery Musical Comedy.”
Nearly everyone in the Palm Beach Dramaworks’ superb production of The History Boys is in love with unleashing flash floods of verbiage in an orgy of ideas illustrated by their addiction to quoting a pantheon encompassing W.H. Auden and Frederick Nietzsche in rapid fire banter