Tag Archives: GableStage
Evil thrives when good people, normal people, do nothing. This banality of evil provides the crux of playwright David Meyers’ incisive play We Will Not Be Silent, receiving a bold, powerful production at GableStage.
Quite a come back year: World premieres, epic musicals, moving two-character dramas, you name it. Here’s not so much a “best of the year” list – no such list can be reliable or complete – but a random recognition of outstanding performances, productions, trends and just moments that theaterlovers will carry with them into 2023.
There is a delightful irony to Heisenberg, GableStage’s enthralling play about uncertainty: When you leave it, you’re not quite sure what it was really about. The reward is you can debate it in the car ride home and theorize about it the next morning. About the only thing you can be really sure of is, if were willing to open yourself, you have had an engrossing night of thought-provoking, challenging theater.
Fade predictably indicts talent succumbing to ambition, but what’s special is how the verbally intense script infuses an insider’s incisive depiction of a diversity within modern Latinx life in a predominantly Anglo society.
In the 84-year-old Ruben Rabasa, a tall skinny but gnome-like looking creature brimming with life and humor, GableStage audiences are treated to a wild and quirky interaction with this winning clown in Rubenology: The Making of An American Legend.
The upcoming seasons listed here are as varied as anyone could plan with time-tested bets and works so new that no one knows what to expect. GableStage’s Bari Newport spent months juggling a dozen factors. “Most people know what it’s like to plan a big wedding,” she said. But “every single one of these (productions) is a big wedding that happens not once but 25 to 31 times.
As death and grieving surround us, Joan Didion’s play at GableStage, The Year of Magical Thinking, is guaranteed to be uncomfortable, even upsetting. But that should not dissuade you. Her account of processing the death of her husband daughter is an exemplar of why stage drama exists.
GableStage takes a break from race relations and Arthur Miller to create Boca, a chuckle-fest as well-constructed and skillfully executed as any episode of The Golden Girls, the Mary Tyler Moore show or a Carol Burnett skit.
A sea of unmasked faces at FGO’s opening Saturday signaled South Florida theaters on the cusp of relaxing restrictions, some only for certain productions and some cautiously gingerly peering ahead to determine what to do.
If Dickens’ opening line in A Tale of Two Cities has become a trite cliché through overuse it has become a painfully accurate truism about theater over the past two years, especially South Florida theater. Crippling loss and inspiring resurrection. Surrender and perseverance. And , now, the Covid threat has reasserted. But looking back on those two years delivers a testament worth celebrating and learning from.