Tag Archives: Barbara Bradshaw
Critics and award judges have been talking about it for weeks: The sheer amount of high quality work has made evaluating the last 12 months unusually challenging, but also an opportunity to remember one of the most rewarding calendar years in recent memory. So here’s a supremely subjective stab by all three critics here at Florida Theater On Stage at recognizing the shows and performances that stood out from a pack of productions.
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.
Gina Gionfriddo’s Rapture, Blister, Burn is rooted in an wry examination of post-feminism. But Zoetic Stage’s finely wrought comedy-drama goes much farther and deeper in examining the complex interrelationship of dreams, choices, responsibilities and consequences applicable to human beings of all sexes.
The Mousetrap at the Maltz is indeed a hoary old chestnut chock full of clichés which weren’t even new when it bowed in 1952. But director Peter Amster and his cast wisely don’t try to fight it or update it. Instead they embrace it with gusto and with hardly a post-modern wink other than playing up everyone’s suspicious facets with a gleeful melodramatic flair that is usually, but not always under control.
The key to enjoying world premieres like Uncertain Terms at The Theatre at Arts Garage is to understand that you are seeing a work in progress. So picking out what works and what doesn’t is part of the reason to look in on Allison Gregory’s flawed but droll exercise in quirky whimsy about an extended family laying conflicting claims to the same home.
The unreliability of memory — and the resulting doubt and guilt — swirl through Zoetic Stage’s finely crafted production of The Great God Pan.
Among the reasons to see The Women’s Theatre Project’s Red Hot Patriot are Carbonell Award-winner Barbara Bradshaw as she holds court for 68 minutes in a one-woman show about Texas journalist Molly Ivins. Secondly is to see Genie Croft’s brilliant direction. The least inviting is Margaret Engel and Allison Engel’s cobbled together script.
“Act as if ye had faith and faith shall be given ye” goes the maxim and the performers in Zoetic Stage’s production of The Savannah Disputation seem to have taken it as their watchword. They and director Stuart Meltzer have invested every bit of their considerable talent making a flawed, one-and-a-half-dimensional script into a terribly funny and mildly thought-provoking evening about religious certitude.
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 this edition, we talk with Barbara Bradshaw, one of the most admired stage and voice-over actresses in South Florida whose 200-plus roles include four Carbonell-winning performances. In this Q&A, Bradshaw reveals a young adulthood that few outsiders would suspect as well as her deep connection to the sea.