Tag Archives: Betsy Graver
Deborah Zoe Laufer’s The Last Schwartz poses a difficult mélange of tones, and Parade Productions’ production doesn’t smoothly meld Laufer’s various parts. That said, the stand-alone strands of farcical comedy, subtler black humor and heart-rending pathos are delivered independently with quite satisfying results through skilled performances molded and guided by director Kim St. Leon.
Human beings have to dream – no matter their likelihood, no matter the cost. This sampler cliché find its truth in the tactile tragedy that is Palm Beach Dramaworks’ muted but moving revival of John Steinbeck’s Of Mice And Men.
The Fox on the Fairway, plays more like a 1970s sitcom. When any one of the comedy’s exaggerated characters comes bursting through the door (and this happens more than a few times), you expect a canned laugh track to surface.The Fox on the Fairway won’t take the World Cup when it comes to comedy, but it’s a fun romp and summer fare that only requires the audience to be swept away in its lunacy.
Lungs at Arts Garage seems to be about a young couple debating whether to bring a baby into this perilous, even doomed world. But in the wake of plot twists, Duncan Macmillan’s breathtaking script comes clear as an examination of the fragility and tensile strength of relationships, featuring brilliant performances by Betsy Graver and Cliff Burgess.
South Florida theater critics have to kiss a lot of comedy frogs before they find a prince, so we’re exhilarated when we discover one as magical as Zoetic Stage’s hilarious and touching All New People. What Zoetic Artistic Director Stuart Meltzer and his quartet of actors do with Zach Braff’s material is masterful in comic timing, narrative pacing, inhabiting characters, line readings, excavating meaning, variety of tone yet unity of approach, you name it.
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.
In the case of GableStage’s production of the message comedy about sexual politics, Venus In Fur, the only thing to be certain of is the stunning performance by Betsy Graver.
The deteriorating orbit into insanity is tracked with impressive skill and infinite variety in Ken Clement’s bravura tour de force as the government drone Poprishchin under Richard Jay Simon’s direction in Mosaic Theatre’s 12th season opener, The Diary of a Madman.
If you wonder just how small the theater world is, consider how Paul Paul Ben-Victor’s play This Little Jew Girl has found its way to a free reading at GableStage at 7:30 p.m. Monday with Ben-Victor, Todd Allen Durkin, Betsy Graver, and the corporation of Avi Hoffman, Laura Turnbull and Arielle Hoffman.
Donald Margulies’ drama Time Stands Still which enjoys a solid production at GableStage is not a thrilling or enthralling production; it’s one that keeps you thinking long after the lights come back up about whether we are jettisoning our responsibility as human beings to, first, feel something and, second, act on it.