Tag Archives: Broadway Across Miami
If it’s February, then theater companies are taking advantage of the visiting snowbirds presence to announce what they hope will be an enticing slate of titles for the 2018-19 season.
78-year-old Delray Beach actor Alan Scharf is loving the featured role in the national tour of Dirty Dancing.
Effectively cloaked in high-tech flourishes from pounding music to a rock concert-worthy light show plus classic theatrical accoutrements like dancers, The Illusionists gathers seven inventive and distinctly different magicians in an enthralling show.
These are not at all necessarily what we predict will be the best shows this season (although they may be) or the best attended or the most popular or the most award-winning. We don’t care. These are the shows we most want to see for a variety of reasons. The list is woefully incomplete, likely with major but unintentional omissions.
The new tour of Cabaret does not break a shred of new ground artistically; it intentionally recreates the 1998 revival in which Sam Mendes reimagined the initial vision by amping up the debauchery factor by a factor of ten. Yet, the resonances of this half-century-old work, now in this specific moment in American history, are shattering.
There’s something interesting about seeing at the Arsht Center a national tour of the 30-year-old Phantom of the Opera for the who-knows-which time. It’s amazing that people who have performed show three hundred times have not lost their edge as even the best professionals do over time. Instead, they have discovered all the colors and nuances possible in the work, and deliver them with confidence and brio.
How do you solve a problem of taking a 56-year old American musical classic and making it fresh for a modern audience? If you’re director Jack O’Brien, you lovingly dust the tarnish off of The Sound of Music and imbue it with a freshness that’s as crisp as the snow-covered Austrian Alps.
The national tour of Kinky Boots was a well-polished evening of musical comedy with soulful ballads and glitzy production numbers, but this construction felt so manipulative, so by-the-numbers as if it, too, came off a factory production line.
South Florida theaters still mount familiar warhorses, but the 2015-2016 season is proof that companies realize the future of theater is to attract pre-retirement audiences with shows steaming fresh out of Manhattan, edgy intellectually challenging works, imaginative takes on familiar titles, regional premieres of shows you only read about in The New York Times over the past few years and some shows you have never heard of, period.
After 11 years and counting on Broadway, a decade on the road and on its seventh visit to South Florida, some of the magic should have vanished from the musical Wicked. But the tour has not only maintained much of the magic, but arguably is even more heartfelt and polished than its predecessors.