Tag Archives: Broadway Across America
This Broadway Across America production of Waitress at the Broward Center about the complexities and emotional truth of how dreams do and should form the backbone of life.arguably is even brighter and more deeply felt than the 2016 version still running in New York
As overwhelming as The Color Purple is to the eyes and ears, it’s the heart that is most affected in this Broadway Across America tour production at the Arsht Center. Powerful voices trumpet then caress a gorgeous score as actors expertly deliver all the possible emotions laden in a well-crafted but challenging script.
The highly entertaining production of Wicked isn’t just defying gravity—it’s defying expectations. It’s easy for long-time theatergoers to become a bit jaded about seeing the umpteenth tour of a musical that you think you’ve seen too many times already. But any qualms about Wicked, now at the Broward Center tare quickly dissipated.
Hamilton and Dear Evan Hansen – two of the most critically acclaimed and fantastically popular musicals of the past decade – headline the 2018-2019 Broadway Across America season slated for the Broward Center for the Performing Arts.
We could tell you that A Gentleman’s Guide to Love & Murder is a satire of the artificiality of the class system and an affectionate lampoon of British theater genres such as the music hall and Gilbert & Sullivan operettas. All of which would be accurate. But, actually, the Tony-winning musical touring at the Broward Center this month is simply deliciously devilish fun.
For a show whose strengths are its celebration of nose-thumbing non-conformity and anarchic scenes of unrestrained thrash metal music, School of Rock is a surprisingly conventional musical that mechanically ticks off all the check marks in theater’s dramaturgical by-the-numbers playbook.
Love Never Dies is a sequel if not the equal to Phantom of the Opera from Broadway Across America at the Broward Center, but Andrew Lloyd Webber’s attempt for lightning to strike twice, while inherently flawed, is undeniably a lush, gloriously passionate and entertaining exercise that is exactly what it wants to be.
Perhaps you’ve seen The Sound of Music once too often. But if you have fond memories that seek reawakening or if you have never seen it on stage as opposed to the film, this is an enthusiastically recommended effort.
If you know where to look, certainly you can find reliable warhorse titles in the upcoming theater season in South Florida, but it’s easier to find vibrant, contemporary and challenging offerings.
Damaged by yet another homogenized film version of Rodgers & Hammerstein’s work, few think of The King and I as a piece deeply focused on incipient feminism, international politics and the challenge of leadership. But the national tour at the Arsht Center of the Lincoln Center revival underscores how prescient this was when it was written in 1951.