Tag Archives: Angie Radosh
Palm Beach Dramaworks’ Buried Child is not a pleasant evening of entertainment; it’s more of scathing abrasion therapy that purges the mental palate with fare that is as harrowing as a plow etching a deep gash in the land. But it is theater at its best.
Director J. Barry Lewis has a way of approaching a play like Sam Shepard’s Buried Child, the Pulitzer Prize-winning work that gets a staging by Palm Beach Dramaworks beginning March 27 and through the month of April.
Here’s a look back at 2014 including a very subjective subjunctive reductive list of outstanding shows, performances and developments guaranteed to make someone unhappy they were not on the list. Take comfort in that there was so much good work that this is the crème de la crème de menthe.
GableStage’s production of Terrence McNally’s script Mothers And Sons surpasses the Broadway premiere by depicting close-up the devastating pain when deep emotional wounds inflicted decades earlier are ripped open again. And it depicts the process of rending apart the psychic scab in unforgiving real time.
The unreliability of memory — and the resulting doubt and guilt — swirl through Zoetic Stage’s finely crafted production of The Great God Pan.
The Timekeepers, a harrowing drama mounted on a tiny stage by a company only in its second season, swept six of its six nominations including best play at the 38th Carbonell Awards Monday night. Those wins, along with a best director award for the fledgling Slow Burn Theatre Company’s musical next to normal, was greeted as a sign that young theaters could make inroads in a program dominated by a handful of venerable and well-funded troupes.
All through the engrossing and ultimately wrenching second act of the Maltz Jupiter Theatre’s production of Other Desert Cities, one question screamed for an answer: Where were you people in the first act? The competent cast slogs through the exposition until they finally get create plausible characters in the second act.
When Fort Lauderdale playwright Tony Finstrom met Florida’s First Lady of Theater Jan McArt three years ago, he felt like he had already “known her forever.” She felt the same camaraderie. It was this initial spark that led to Finstrom’s new musical Glamour Girl! The Jan McArt Story, which will be presented in a staged reading Monday at Lynn University.
Put Actors’ Playhouse production of Making God Laugh pretty much in the insightful column. Playwright Sean Grennan uses our recognition of the laughter and pain common to most familial relationships and uses it as a building block in his farcical comedy that transmutes into poignant drama.
The word “hilarious” rarely applies to a bleak unblinking play about mortality, but Palm Beach Dramawork’s superb production of Eugene Ionesco’s Exit The King earns it, along with “profoundly thought-provoking” and other accolades. Simply, it ranks among the best work that the company has mounted in its 13 seasons.