Tag Archives: Casey Dressler
The Vanguard meant no self-aggrandizement posting photos of Lucy and Ethel, Carol and Vicki, across their set for the hilarious sketch comedy, Parallel Lives. But it’s apt. Because Elena Maria Garcia gets to prove once again that she may well be the finest comic actress to grace local stages over the past two decades. And it doesn’t hurt that partner in crime Casey Dressler is on the fast-track in the same category.
The opening scene of Will Eno’s The Realistic Jones, as staged by Thinking Cap Theatre, is one of the funniest things I’ve seen in years.
But with one significant caveat, An Adult Evening of Shel Silverstein at the Vanguard lands most of the ten quirky gems of satirical and somewhat blue comedy with a skill, energy and polish missing from many local anthologies of 10 or 15-minute playlets.
2015 produced a wild variety of snapshots to paste in the theatrical scrapbooks: a male Dolly Levi, a homicidal dimwit slicing carrots, a kidnapper forcing her captives to learn nonsense, a tsunami engulfing a Japanese village, a green-gunked survivor of toxic sludge singing love songs to his blind librarian girlfriend. You know, just another year for regional theater in South Florida.
If you like your theater schematic, clear-cut and requiring little cogitation, you will absolutely hate A Map of Virtue. But if you don’t mind wrestling with a production while it’s underway, if you enjoy trying to dope out what it meant on the ride home, then Thinking Cap’s production may well intrigue, perplex and unsettle you if you let it.
The Alliance Theatre paints a lovely, off-beat love affair between two wounded souls in Frankie and Johnny in the Clair de Lune
Jealousy, ego and unbridled schadenfreude that exist in any human being seem to be intensified among the rarefied spirits we call artists – at least that seems to be thrust of Mark Ravenhill’s droll little satire, Pool (No Water) enjoying a hoot of an outing thanks to Thinking Cap Theatre.
Taking a play that could easily be average and creating an inspired work is a thing of theater beauty. It comes from a director’s ability to envision what they want and go full in and, then it’s having actors who can help to further that vision. When there’s that synergy, it’s like watching magic unfold onstage. Such is Kutumba’s Julie Johnson.
Parade Productions’ collection of short plays by Michael McKeever, The Whole Caboodle, has the makings of a terrific evening of theatre, but an added conceptual element prevents the show from fulfilling its potential.