Tag Archives: Krystal Millie Valdes
Home is the place where they have to take you in, to paraphrase Robert Frost. It’s also the place where every family dynamic plays out — love, resentment, growing pains, conflict, chaos, worry and secrets — as shown in the Maltz Jupiter Theatre’s superb production of Brighton Beach Memoirs, smoothly directed with a first-class cast, the Maltz production hits all the high notes
With the Maltz Jupiter Theatre’s upcoming Brighton Beach Memoirs, director J. Barry Lewis says people need to “come forward with a new perspective on what a Neil Simon play is, not just what you think.”
The House of Blue Leaves gets as funny and touching a production from Palm Beach Dramaworks as anyone can ask for. Its virtues include superb direction, a flawless creative team and a wall-to-wall cast of actor-clowns willing to bury themselves inside the off-kilter and flawed characters.
There are probably 27 synonyms for the word funny and 157 familiar tropes. All the words apply and all the classic bits can be found in Actors’ Playhouse’s farce One Man, Two Guvnors.
The emotional cauterizing of an already withdrawn teenager by a family dynamic of furious fights and fierce sibling rivalry forms the core of Tammy Ryan’s Tar Beach, receiving a sensitive examination from Theatre Lab.
Thinking Cap Theatre’s Crooked superbly captures the fear, confusion and pain of being an adolescent – and the same fear, confusion and pain struggling to raise one. With vibrant performances expertly directed, its an absorbing, moving and shattering journey that touches on religion, sexual awakening, and especially the prickly but prevailing mother-daughter relationship.
It’s almost paternalistic to praise New City Players as one of the gutsiest theaters in the region. But with its carefully-wrought and moving production of Constellations, the Players have outgrown the well-meant but limited expectations that arts patrons have of a so-called “fledgling theater.”
With a cast of unfettered and inspired clowns, Thinking Cap Theatre has produced a hilarious edition of a 1687 comedy by Aphra Benn, The Emperor of the Moon, lathering almost every second of this commedia dell’arte farce with a humor encyclopedia’s worth of sight gags, comic timing, verbal delivery, bathroom humor and endless physical schtick — all delivered at a lickety-split pace by a comically nimble troupe.
Produced competently, with flashes of brilliance, by New City Players at the Vanguard, Clybourne Park’s expose of the evolving presentation of white privilege over generations has lost some of its structural novelty, observational luster and ability to shock in the seven years since its regional premiere at the Caldwell
You can’t really blame the playwright Erika Soerenson or artistic directors for thinking that a distaff reinterpretation of the Quentin Tarantino film Reservoir Dogs might make an intriguing, funny and even socially revealing stage adaptation, Reservoir Dolls. But the Outré Theatre Company’s production iunderscores what a misbegotten idea this was because either the playwright did not know what she wanted in the end or Outré never communicated it.