Tag Archives: Ken Clement
A double sense of “life after death” pervades the touching and beautifully rendered The Tin Woman drama suffused with wit now playing at Actors Playhouse as spring slides into summer.
Actors’ Playhouse pulls out all the stops to mount its annual winter centerpiece production. Director David Arisco molded a troupe of actor-singer-dancers who deliver a vibrant evening remarkable for its prolonged sections of power and verve.
In Mad Cat Theatre Company’s world premiere of Lazy Fair, Theo Reyna’s drily funny treatise on greed, Money – or actually The Spirit of Money – droll deadpan humor suffuses this spoofy hoot.
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.
Deborah Zoe Laufer’s The Last Schwartz poses a difficult mélange of tones, and Parade Productions’ production doesn’t smoothly meld Laufer’s various parts. That said, the stand-alone strands of farcical comedy, subtler black humor and heart-rending pathos are delivered independently with quite satisfying results through skilled performances molded and guided by director Kim St. Leon.
It’s not the slamming doors, Marx Brothers chases or repartee that make Broward Stage Door’s farce Moon Over Buffalo an enjoyable afternoon laughing at the foibles of vainglorious creatures who, of course, bear no relation to our own imperfections. It’s the cast’s unflagging energy the topspin on a put-down, comic timing and scores of bits of business..
Beautifully sung, passionately acted and staged with as much movement and business as anyone can ask of a limited rehearsal period, Palm Beach Dramawortks’ concert version mines much of the beauty and heart from one of the most glorious scores and emotionally-affecting scripts in American musical theater.
By Bill Hirschman Sometimes for actors, especially playing comedy, the only option is to jump off the cliff and see if you can fly. The miracle is that sometimes, as in City Theatre’s Summer Shorts, is that, indeed, they soar. …
Imagine you’re Ken Clement in City Theatre’s Summer Shorts opening this week. One minute he’s a dolphin, a few minutes later he;s Dracula and still later he has to find his inner Mothra. Performing in the annual festival of short plays, a rite of summer now in its 18th edition, requires talents they don’t dwell on in drama school.