Tag Archives: Carey Brianna Hart
Main Street Players’ Topdog/Underdog Is Slow Motion Shattering Drama
Main Street Players’ version of Suzan-Lori Parks’ Topdog/Underdog rewards the patient patron is watching a slow-motion shattering of two brothers struggling with institutionalized racism, poverty, sibling rivalry, and troubled pasts stretching from childhood to last week.
M Ensemble Sings the Harlem Blues for an Alabama Sky
If it’s possible to capture the depth and breadth of a tumultuous vibrant time and place by just focusing on the intersecting lives of five ordinary people, in this case Harlem in 1930, then Pearl Cleage’s Blues for an Alabama Sky comes close, notably in this production by the M Ensemble Company.
Racial Issues Permeate Main Street’ Players’ ‘Shakespeare is a White Supremacist’
The premise: A white director leads a multi-ethnic cast in a Midsummer’s Night as an answer to charges of institutional racism. But with wry humor and painfully incisive drama, Main Street Players’ edition of Andrew Watring’s “Shakespeare is a White Supremacist” examines the intersection of theater and racism as a metaphor for larger problems afflicting society in 21st Century America.
Racism & South Florida Theater: Changing The Dance Steps
Asked to spotlight specific problems and potential solutions, everybody had a story of racism infecting the South Florida theater community. Some cited unintentional micro-aggressions in pressure-laden rehearsals. Others underscored systemic failings whose reform will require leaders, supporters and audiences to revaluate everything from what goes on stage to who decides what goes on stage.
National Black Theatre Festival Underscores Love Of Theater
This past summer, tens of thousands of African-Americans from around the U.S. and other countries as well jammed 12 venues in Winston-Salem, North Carolina to savor more than 30 tragedies, musicals, comedies, movement pieces, and revues produced by predominantly black theater companies .
Thinking Cap’s King Lear Is A Study In Imagination
Peter Wayne Galman in Thinking Cap Theatre’s production is a likeable Lear. He’s also narcissistic, ego-centric, driven, demanding, confused, playful and timeless. It helps that Galman delivers William Shakespeare’s poetry like the masters – think Ian McKellen, Sir John Gielgud. There isn’t a word that isn’t sacrosanct. He relishes the work, and, in turn, audiences will, too.
Raucous ‘Women In Assembly’ Reflects An Unique Vision
Thinking Cap’s world premiere, Women In Assembly, is a satirical comedy credited to Aristophanes but transmuted into a bawdy irreverent satire about Greek women taking over government and reshaping it to their saner philosophies. It’s awash in inventive staging and the cast’s energy, but the riffs go on long after the underlying point is made.
Straight White Men Succeeds At Thinking Cap Despite Thoughtless Jerks In Audience
Thinking Cap Theatre’s opening performance of Young Jean Lee’s Straight White Men might have been among the best nights of theater in South Florida so far this season. I say “might have been” because I can’t be sure. The evening was crippled by drunken thoughtless, self-centered, rude patrons who learned their audience etiquette from watching Jerry Springer reruns in their underwear at home.
Raucous, Raunchy, Heartrending: Thinking Cap’s Collective Rage
Trump may have paraded his demeaning objectification of women by using the word pussy, but it’s a word celebrated over and over in Thinking Cap Theatre’s production of Collective Rage, A Play in Five Betties.
Playwright Jen Silverman and her disparate characters all named Betty use the term to reinforce the liberating quality of having pride in female sexuality.
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