Tag Archives: Kaitlyn O’Neill
If you are a Boomer (and be warned, maybe only if you’re a Boomer or their progeny), Slow Burn Theatre Company’s hilarious spoof Disaster! will be in contention for one of the silliest, stupidest and downright funniest nights you have had in theater in recent years.
Since you can understand the lyrics here better than in any previous production, Slow Burn Theatre Co.’s Spring Awakening, the powerful punch and pungent poetry come through with a clarity that elevates this edition over the others. It ranks among the troupe’s most polished, accomplished and effective work.
2015 produced a wild variety of snapshots to paste in the theatrical scrapbooks: a male Dolly Levi, a homicidal dimwit slicing carrots, a kidnapper forcing her captives to learn nonsense, a tsunami engulfing a Japanese village, a green-gunked survivor of toxic sludge singing love songs to his blind librarian girlfriend. You know, just another year for regional theater in South Florida.
With bracing anger, profuse profanity and biting satire that is more slashing than surgical, Outre Theatre Company’s Bloody Bloody Andrew Jackson will not to be everyone’s taste but for those whose preference run more to Rent than Mamma Mia, this is your acidic cup of tea.
Slow Burn Theatre Company gives the perennial favorite The 25th Annual Putnam County Spelling Bee as excellent a production as we’ve seen of it, hitting the perfect balance between the hilarious and poignant, marked with a child’s exuberance for living and an adult’s compassion for the angst over the process of losing innocence.
Like a scruffy stray found on the streets with little promise of being housebroken, Slow Burn Theatre Company’s musical High Fidelity shouldn’t be so appealing and downright winning. But it is. The sense that the energetic cast and creative team seem to be having this much fun should enchant most anyone open to a summer lark.
Outré Theatre Company staged a concert version of Bloody Bloody Andrew Jackson this past weekend at Mizner Park to see whether the fledgling company could pull off the logistics and to ask the audience whether they want to see a full production. Count this as the first enthusiastic “yes.”