Tag Archives: Island City Stage
When did yesterday’s renegades, who skirted AIDS and lived boheme on a ramen noodle diet in the go-go eighties, become today’s get-off-my-lawners? These questions, and plenty more, linger between the lines of Mr. Parker, Michael McKeever’s elegant dramedy world-premiering at Island City Stage.
A second round of South Florida theater season announcements have coincided with the withdrawal of snowbirds, but if this year’s busy slate is any indication, the 2018-2019 season will barely slow down post-Easter.
The world premiere The Radicalization of Rolfe at Island City Stage implies a truly intriguing nesting of premises: starting with how Rolfe, the sweet messenger boy romancing Liesl in The Sound of Music ends up with a swastika on his arm helping the Nazis hunt down the Von Trapps? But this gay-themed drama needs a lot more work on the script.
Island City Stage’s highly entertaining production of the musical Zanna, Don’t! will never be confused with a show by Stephen Sondheim, though there are numerous references to the famed composer. Amid the numerous pop culture references, , and well-timed humor, Zanna, Don’t! slyly, yet forcefully, maintains that everyone has a right to love whom they want.
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?”
In this uncertain world, the ever-changing standards of what life is or even should be make it nearly impossible to chart a path forward when we have less idea what might be ahead than Columbus. That may be one of the takeaways – there are likely a half-dozen more — from the nightmarishly dark but hilarious 2014 comedy Hir bowing at Island City Stage.
Shorts Gone Wild 5, co-produced by City Theatre with Island City Stage, follows the same entertaining pattern eliciting guffaws, chuckles and a few choked back sniffles with risque and luight blue material. The acting and direction keeps improving year after year and those elements rescue scripts less deftly written. But this edition feels different for an intriguing reason.
If you know where to look, certainly you can find reliable warhorse titles in the upcoming theater season in South Florida, but it’s easier to find vibrant, contemporary and challenging offerings.
Indisputably, regional theaters have been a significant wellspring for new plays reaching back 30 years. But a quickening sea change has occurred quietly but demonstrably over the past decade: Regional theaters – once reliant on warhorses and the latest New York hit — have become the primary incubator and showcase for new work in America
The stage is a fungible place. Sets can transform, actors can fly, characters can break walls, especially the fourth. There is limitless potential in the blank canvas of floorboards and lighting, as Stuart Meltzer’s gently experimental The Goldberg Variations reminds us at Island City Stage.