Tag Archives: David Arisco
This year’s Carbonells with its all-white roster of winners in the performance and directing categories was simply the boiling point in a discussion that has long simmered behind the curtain of South Florida theater. Where all sides seem to agree is that there isn’t a tremendous amount of work being produced by and for black and Hispanic talent, even though, at least in Miami, they constitute a vast majority population.
Actors’ Playhouse is staging an electric, pulsating production of Memphis — a high-octane, acrobatic dancing, believable performances and soulful, spirited singing. The performers’ voices are versatile, strong and emotive.
There are probably 27 synonyms for the word funny and 157 familiar tropes. All the words apply and all the classic bits can be found in Actors’ Playhouse’s farce One Man, Two Guvnors.
Worse than Spiderman Turn Off The Dark, the mega-epic The Big Bang may be the most bloated, overwrought, inept, politically incorrect, painfully lame, downright stupidest musical of all time. That Big Bang would be the imaginary extravaganza being hawked at a fictional backer’s audition, not the identically-named romp now at Actors Playhouse and just as delightfully daft and demented as it was there in 2003 and 2005.
So…what do Carl Perkins, Johnny Cash, Elvis Presley and Jerry Lee Lewis have in store for an encore in Actors’ Playhouse at the Miracle Theatre’s much-anticipated return engagement of Million Dollar Quartet? The foursome has re-created sounds that seem more crisp and controlled, without losing the vibrancy and electricity audiences ate up during the 2016 production.
What the musical Once illustrates on the stage of Actors Playhouse is the unparalleled power of song to capture and then share the pure pain and pleasure of love.
Noises Off is one of the funniest farces written in the English language and a solid match for Actors Playouse talents. The laughs are plentiful, but this production didn’t wring everything out of this piece that you’ve seen done elsewhere.
One pleasure of a theater critic’s job are these year-end retrospectives that require looking back at reviews and be reminded, “Oh, yeah, that was really great. And right, there was that. And how could I forget that one?”
David Arisco has directed Evita for Actors’ Playhouse three times. So, what’s different this go ’round? Well, to hear him tell it, the Andrew Lloyd Webber-Tim Rice musical, written four decades ago about a celebrity turned power hungry politico in mid 1940s Argentina is even more relevant than ever.
The world premiere of Michael McKeever’s Finding Mona Lisa at Actors Playhouse initially might seem a light, fascinating beach read about Leonardo DaVinci’s masterpiece — a sometimes droll, sometimes broad comedy for a summer evening. But this episodic time-travelling romp is far more about the multi-faceted relationship of Art and human beings