Tag Archives: Carlos Orizondo

Dracula’s Prey At Zoetic: No Helpless Fainting Victims Here

In Zoetic Stage’s premiere Dracula, the vampire is a sexist pig (as are several men in the play). The protagonists are strong-willed proto-feminists. Together, they embody a society struggling with re-envisioning what self-empowered women can and should be. Michael McKeever’s script as directed by Stuart Meltzer presents social commentary told with droll, wry and self-aware humor, and the retelling of the classic horror narrative.

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GableStage’s Informed Consent: Is The Search For Truth Paramount? And Whose Truth?

Is knowledge always good? Is its pursuit inherently defensible regardless of the consequences? Is there Absolute Truth?These and another half-dozen ideas careen and crisscross GableStage like electrons colliding in a chain reaction in Deborah Zoe Laufer’s Informed Consent.

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Area Stage’s Circle Mirror Transformation Beautifully Meanders Toward Catharsis

Circle Mirror Transformation is finally receiving its professional regional premiere by the intrepid Area Stage Co., and the disarmingly funny production is a ravishing success for Baker purists and newbies alike. It’s a more accessible introduction to her work than the other two plays while still proceeding with uncompromising naturalism.

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New Theatre’s Cuban Spring Plumbs How Generations Define Their Identity As Cubans

The overall picture may seem a bit disjointed and fuzzy, but the world premiere of The Cuban Spring at New Theatre incisively depicts the complexities of Cuban-American families in modern Miami as their American-born generation conflicts with parents struggling with ghosts of their birthplace.

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