Tag Archives: Antonio Amadeo
Michael McKeever’s stunning world premiere play Daniel’s Husband at Island City Stage is an indelible and inarguable exhibit that love between human begins is unquantifiably precious and inarguably valid — regardless of sexuality.
The Carbonell Awards will bestow its highest honors this month: Arsht Executive Vice President and Carbonell President oScott Shiller will receive the George Abbott Award, actress-director-producer-dancer-union leader-teacher Iris Acker will receive the Howard Kleinberg Award, and The Naked Stage troupe which created The 24-Hour Theatre Project will receive the Ruth Foreman Award.
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.
The eighth annual 24-Hour Theatre Project on Monday had a slightly different vibe to it with everyone on stage and much of the audience wearing tiny teal ribbons representing the fight against cervical cancer. But Naked Stage cofounders Katherine and Antonio Amadeo pledged the proceeds toward the medical expenses of theater supporter Dana Castelleno, who is in hospice with stage 4 cancer.
For a century, August Strindberg’s tragedy Miss Julie has been interpreted as a seesaw of power exercised through class and sexual politics. But in Naked Stage’s operatic production, as lives lie in ruins, everyone ultimately is revealed a slave, never a master, when they toy with those three elements.
By Bill Hirschman Sometimes for actors, especially playing comedy, the only option is to jump off the cliff and see if you can fly. The miracle is that sometimes, as in City Theatre’s Summer Shorts, is that, indeed, they soar. …
Imagine you’re Ken Clement in City Theatre’s Summer Shorts opening this week. One minute he’s a dolphin, a few minutes later he;s Dracula and still later he has to find his inner Mothra. Performing in the annual festival of short plays, a rite of summer now in its 18th edition, requires talents they don’t dwell on in drama school.
The Carbonell Awards ceremony falls on April Fools’ Day (restrain your quips), But that also means it’s time for the annual grousing column about nominations.That said, I wish the judges had the ability to expand the list of nominees by one or two slots at will. So here is my personal “Youze wuz robbed” list.
Jon Robin Baitz’s finely-crafted play asks whether there is such a thing as unconditional love in Actors Playhouse’s rock solid production of last season’s Broadway triumph which surgically peels away the Wyeth family’s layers of lies and fragile accommodations that allow humans to interact after perceived betrayals.
In theater, that most mutable and evolving art form, the passage of time is the forgotten factor in what the audiences see. So while having critics review a show opening night is unavoidable, even necessary, it’s also problematic. What a patron sees a week or three later in run may not be what the opening night audience saw.