Tag Archives: Kravis Center for the Performing Arts
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.
The Kravis Center’s Broadway tour series, resuming in November, will have the much-anticipated Come From Away and Dear Evan Hansen, but also titles that won’t be seen at the other two presenting houses in the region such as An Officer and a Gentleman and Summer, The Donna Summer Musical.
The county plan for the Coconut Grove Playhouse is still alive in court, Kravis hires new CEO Terrence Dwyer and Broward County awards $2.5 million in grants.
For arts fans looking for a bit of good news, the Kravis Center and the Broward Center are on track to be the first of the region’s large presenting houses to host a live event with an in-person audience inside one of its venues. They aren’t theater per se, but they mark a milestone in live presentations.
The Coronavirus is closing some shows in South Florida theater, and causing the indefinite postponement of others, including the eagerly awaited world premiere musical A Wonderful World at Miami New Drama and the Carbonell Awards gala.
Travelling in the national tour means moving to a different hotel in a different city nearly every week, not always sure what city that is, maintaining relationships with loved ones from afar, striving to keep the show fresh when you’ve done the material hundreds of times. And bats divebombing the performance. Just ask Hialeah native Nick Duckart travelling with Come From Away as it approaches the Kravis and Broward Center.
Hamilton, which explodes with power, vitality and imagination in the Kravis Center through Feb. 16, is not the Second Coming as many overheated observers would have you believe. But this tour demonstrates why this musical epic is a watershed work that may well transmute mainstream theater for a decade to come.
The procession of savannah creatures –magnificent lions, leaping, a lithe leopard, soaring birds and a story-high elephant – strolling up the through aisles and onto a theater stage in the opening scenes of The Lion King is still breathtaking no matter how many times you’ve seen it.
If you hire strong voices as they did in MNM Theatre Company’s production, the venerable musical Grease cannot help but be entertaining with its elbow-nudging pastiche of faux late ‘50s-early ‘60s rock n’ roll. The challenge in which MNM doesn’t prevail is finding the difficult to locate tone for the script scenes because Grease is not simply a straight ahead comedy as it’s played here.