Tag Archives: Gregg Weiner
We’ve written a paragraph like this only two or three times: Stop what you are doing. Stop reading this review. Go to the phone or online and order tickets right now for Ground Up & Rising’s superb production of Stephen Adly Gurgis’ Our Lady of 121st Street.
Audiences will relish the superb GableStage production of The Royale — Miami native Marco Ramirez’s insightful pile-driving play about boxing, celebrity, racism, race relations and personal responsibility.
Actors Playhouse’s production of The Trial of Ebenezer Scrooge has a talented cast working hard under the direction of David Arisco, but good grief, what a waste of the resources of Mark Brown’s lame script. For one hours and forty minutes (including intermission), the audiences waits and waits for a single new riff in the Scrooge story, even a shred of logic explaining Brown’s basic premise.
Awash in issues of Arab-American assimilation and Anglo antipathy, GableStage’s Disgraced is the classic contemporary example of the topical, thought-provoking drama that forces you to revalidate, even reexamine your perception of the tumult around us.
The central tenets of Baruch de Spinoza’s rationalist ethos are explored exhaustively and exhaustingly in GableStage’s intriguing production of David Ives’ New Jerusalem which surely counts as the textbook definition of “thought-provoking theater.
After a half-century of sympathetic portraits of Hedda Gabler as a woman suffocating in a sexist societal straightjacket, Miami Theater Center gives us a cool, manipulative, self-centered creature whose primary complaint is she’s bored.
The magic of serendipity: It’s difficult to imagine — without being boxed into it as Miami Theater Company was — how an artistic director would thematically put together a season encompassing Hedda Gabler and The Seven Year Itch.
Samuel D. Hunter’s The Whale at GableStage focuses on a morbidly obese man wanting to reconnect with his abandoned daughter before his imminent death. But the darkly funny and affecting play — awash in profanity, cynicism, alienation and fatalism — reveals itself to be about hope rooted in the innate decency inside scalded souls.
A five-foot tall assembly of beige bags hangs in the corner of Gablestage’s cramped communal dressing room, vaguely shaped like a tan version of the marshmallow monster from Ghostbusters. No one has yet christened this fat suit created for The Whale, but even without actor Gregg Weiner inside it, it feels like it’s a character.
Scott and Hem, an imagined reunion of Fitzgerald and Hemingway, is half comprised of deadly accurate insights into the angst of creative souls; the other half is just deadly dumps of name-dropping and exposition. A talented cast and director struggle to make the play at Actors Playhouse land solidly, and sometimes they succeed, but not always.