Tag Archives: Broward Stage Door Theatre
Minnie’s Boys is a light comic highly homogenized version of how stage mother Minnie Marx utzed, kvetched and kibbitzed her five sons to transform from a doomed vaudeville singing group to, well, The Marx Brothers.
The skill, power and imagination that Kevin Black, Ben Bagby and their colleagues have invested make Swing! Swing! Swing! as good or better than any other revue that Broward Stage Door has produced. back in time.
Broward Stage Door’s The Bris, The Bar Mitzvah and Beyond is an amusing afternoon mixing early Neil Simon-Woody Allen humor with serious issues ranging from father-son relationships to parenting to the unique demands of Jewish tradition. But for much of the show, everything races by like a freight train running a half-hour behind schedule.
Turn of the century newsboys cavorting in Jupiter, Tarzan swinging across a Fort Lauderdale stage and Tony Manero swiveling his hips in Margate — the 2017-2018 season for South Florida theater promises a cornucopia of visuals not often seen on local stages.
Some directors say if you cast a show well, you’re more than halfway home to a successful production. So while the acting is just barely adequate in Broward Stage Door’s The Most Happy Fella, have they ever casted the voices beautifully and that makes for some stirring satisfying moments well worth the ticket.
It won’t be hard for patrons to locate Broward Stage Door’s newest revue, Vegas: A Night on the Strip. All they have to do is look for the flames from the three-alarm fire as the production burns down the house.
Sweet Charity is a fundamentally flawed showcase that virtually no one has ever pulled off satisfyingly, but Broward Stage Door director Michael Leeds makes a solid enough stab at it that a receptive undemanding audiences won’t mind having spent a few hours in its pleasant company.
The Broward Stage Door Theatre production of the 1970 musical The Rothschilds, about the famed family’s rise from the German ghetto to become on the wealthiest families in the world, is a reasonably diverting afternoon of theater worth a look at a show rarely produced, but its ultimate potential seems just a few steps out of reach.
Broward Stage Door’s Broadway Bound may not land perfectly all the time, but these theater pros deliver a no-excuses-needed effort that works often and effectively and ultimately satisfies.
Greying Boomers may instinctively resist that the music of their lives is being repackaged into stage revues with little or no story the way Irving Berlin and Johnny Mercer’s songbooks have been for the past two decades. But when it’s done with as much skill and verve as Broward Stage Door’s The Soul of Motor City, it’s hard not to get swept up.