Tag Archives: Elizabeth Sackett
Broward Stage Door’s production of the musical Nine, based on Fellini’s 8 1/2, is a fine evening of exuberant music and even more soaring voices.
In the end, the success of the Wick Theater’s South Pacific is something so obvious and simple: It’s the music, the glorious Rodgers and Hammerstein score and lyrics delivered by a talented and skilled corps of actors who plunge us into unadulterated but adult romance.
As far as large-scale Broadway musicals, Ragtime stands as Actors’ finest mainstream work ever, as accessible and satisfying as it is passionate and thoughtful. Anyone who cares about musical theater, or theater in general, should make a special effort to see this production.
Palm Beach Dramaworks’ current staged concert of Frank Loesser’s 1956 musical The Most Happy Fella overflows with a purity of emotions common to even the most ordinary of us, proclaiming them one of the glories of existence to be welcomed, not shied away from.
From the first tinkling of the bouzouki, Palm Beach Dramaworks’ mounting of the rarely-seen Kander and ebb musical Zorba! fairly throbs with life-affirming spirit in direct spite of the vagaries of Fate.
But legendary Broadway composer/lyricist Jerry Herman has spent his life as an unapologetic champion of leaving audiences after two hours feeling diverted. So diverting is the right word for the venerable revue of his ouvré, Jerry’s Girls, at Broward Stage Door, a procession of 38 hits and lesser-known songs from at least eight shows including Hello, Dolly! and Mame .
With the upfront caveat that we saw an early preview, Broward Stage Door’s Damn Yankees is a base hit but no triple. The cast needs to pitch with a little more spin on the ball, even with talent in the dugout plus a delightful score that qualifies as a solid run batted in.
Miami Stage Door’s first season closer, Deathtrap, is a serviceable if not outstanding edition that understands Ira Levin’s black comedy, appreciates his Swiss watchmaker’s plotting and benefits from a solid performance by Kevin Reilley as a thriller playwright contemplating murder as the means of a comeback.