Tag Archives: Lindsey Corey
Elvis, Carl, Johnny and Jerry Lee return for the Million Dollar Quartet Christmas at Actors’ Playhouse with the same virtues and flaws as the previous editions: impressive musicians with winning personalities delivering a driving evening of kick-butt rock and a few holiday carols mixed in.
A raft of country classics are interspersed in this clear-eyed yet affectionate bio-musical Hank Williams: Lost Highway at Actors Playhouse tracking the rise and collapse of the music legend.
Like death and taxes, one of the few truly dependable things in life is that the venerable Summer Shorts from City Theatre is going to be a satisfying mix of light comedy with a few mildly serious moments. And its silver anniversary production remains a thoroughly entertaining source of 10-minute plays executed by a seasoned cadre of pros.
Buckle up if you’re attending the world premiere run of Overactive Letdown at Theatre Lab as a new mother spirals out of control in a harrowing descent into madness. Crumbling under the post-partum pressures of caring for an infant, aggravated by today’s tsunami of parenting dictates, our heroine Christine’s considerable intelligence, humor and charm evaporate.
The “horror” in Zoetic Stage’s Frankenstein shares little kinship with the film monster with bolts in his neck terrorizing the countryside or even the 1818 novel of science gone wrong. But a different very contemporary terror is there all the same from the breath-taking wordless prologue of a stitched together embryo clawing out of a pod to the silent final image of two bodies crawling through Arctic waste.
There’s a scene of pure hallelujah in Slow Burn Theatre’s A Christmas Story the Musical in which adults and children dressed in sparkly costumes echoing the fabled Major Award leg lamp are in a kick line in a RKO-worthy production number. You won’t remember that from the holiday film. But that’s the key to enjoying this adaptation: Each edition makes the most of its genre’s strengths with little worry that it’s significantly different than its predecessors.
In this post-9/11 time, we ruminate even more than during the Black Plague about the seeming randomness of blind fate or God’s inscrutable will — and wondering is there a meaning to life. Those questions permeate a highly theatrical stage version of Thornton Wilder’s The Bridge of San Luis Rey — much of it re-told in rhyming verse — in an intriguing Miami New Drama production written by, directed and starring off-Broadway fixture David Greenspan.
This 24th annual Summer Shorts festival of short plays scores as the most consistent, polished and satisfying work beginning to end that City Theatre has produced in recent seasons.
Frank Wildhorn’s Jekyll & Hyde is one of those Continental Divides in musical theater: You either love it – or tolerate it. But if you’re going to perform a work by the pioneering prince of the pop power ballad, you have to go all in, and Slow Burn has done just that.
In Zoetic Stage’s premiere Dracula, the vampire is a sexist pig (as are several men in the play). The protagonists are strong-willed proto-feminists. Together, they embody a society struggling with re-envisioning what self-empowered women can and should be. Michael McKeever’s script as directed by Stuart Meltzer presents social commentary told with droll, wry and self-aware humor, and the retelling of the classic horror narrative.