Tag Archives: Casey Sacco
New City Players’ Little Montgomery starts as a satisfyingly cute summer chuckle of a comedy, but morphs into a deeper examination of human beings struggling awkwardly to cope with the word “family.”
The musical One More Yesterday may see it itself as a work in progress, but enfold yourself in this humorous, tuneful and heartfelt work, especially to savor Angie Radosh giving yet another superb performance.
The strength and vulnerability of non-sexual but emotionally intimate friendships are not focuses in 20th Century theater. But in works written by a new generation of playwrights, these relationships are increasingly in the spotlight. Such is I Wanna Fucking Tear You Apart, a dive into the deterioration of the bond of two would-be writers.
A tattoo of a sea serpent is playwright Lucas Hnath’s damning metaphor for the grip of ambition to the point that betrayal of anyone is an accepted expedient in the scathing Red Speedo from producer Ronnie Larsen at The Foundry. Using competitive sports as a milieu, Hnath depicts people willing to violate moral codes and personal loyalties in pursuit of the American Dream — as ingrained today as it was when Arthur Miller decried it in 1949.
No one could accuse the cast of Shorts Gone Wild 6 of being low energy. They spend the production’s interstitial moments cartwheeling, performing splits, engaging in slapdash chicken dances, telling jokes, winking through bawdy double entendres. But most of the plays are less memorable than their spirited introductions.
Be grateful that Slow Burn Theatre Company with its audacious affection for large scale challenging musicals has decided to mount The Secret Garden, that ode to rebirth, memorable for its lush unconventional score that resembles streams of music intertwining into an aural waterfall.
Tarzan: The Stage Musical, by regional theater troupe Slow Burn Theatre plays just fine in the smaller, almost 600-seat Amaturo Theater at the Broward Center for the Performing Arts, but, truth be told, it could have easily passed for a touring road show version that’s usually on stage next door in the more than double-the-size Au-Rene Theater. Yes, it’s just that good.
The enduring genius of Titanic the Musical beautifully limned by Slow Burn Theatre Company is that while it arely nods at what’s to come, it relies on the audience viewing the initial paeans to progress and dreams with the knowledge that this optimistic vision will be swept away by fate, Nature or the very God being prayed to.
Okay, yes, Hand to God has cute obscenity-spouting puppets having sex on stage, but the similarities to Avenue Q stops dead right there. This scorchingly funny and aggressively irreverent play at GableStage is a pitch black comedy about using the fiction of religion to rationalize and excuse the baser natural instincts of Mankind.