Tag Archives: Matt Stabile
Theatre Lab’s production of Lauren Gunderson’s The Revolutionists resembles a blindingly scintillating gem-like puzzle with an infinite number of moving parts that twist in on itself over and over endlessly.
Most Wanted starts out like one of those wacky only-in-Florida tales, but as Peter Sagal’s world premiere at Theatre Lab, evolves the weirdness gives way to poignancy that eclipses the humor and reveals the heartfelt message.
Shorts Gone Wild 5, co-produced by City Theatre with Island City Stage, follows the same entertaining pattern eliciting guffaws, chuckles and a few choked back sniffles with risque and luight blue material. The acting and direction keeps improving year after year and those elements rescue scripts less deftly written. But this edition feels different for an intriguing reason.
The future of the 24-Hour Theatre Project – a popular fund-raiser that cemented the theater community’s solidarity – seemed endangered when its founders, the Amadeos, announced they would be leaving the state. Enter the Theatre Lab, which will present Project on May 1 with the Amadeos’ blessing.
The best art is a partnership between the creative mind and the viewer. That often requires the audience to expend some effort to get inside the artist’s mind or ethos or style. Witness the first full-fledged production of Allison Gregory’s Motherland at Theatre Lab, a tragedy shot full of the droll street humor.
With humor, poignancy and insight, Dietz portrays just such a patchwork invisible to its residents in his new play This Random World at Theatre Lab, the professional resident company at Florida Atlantic University.
But with one significant caveat, An Adult Evening of Shel Silverstein at the Vanguard lands most of the ten quirky gems of satirical and somewhat blue comedy with a skill, energy and polish missing from many local anthologies of 10 or 15-minute playlets.
In Christopher Demos-Brown’s shattering world premiere Stripped at Zoetic Stage, the audience is faced with a complex child custody case is forced to judge past the surface facets of a case in which it will be impossible to “do no harm.”
A naïve young woman from an isolated religious cult called the Squeamish (think Amish) finds herself in an oversized Mr. Peanut outfit on a highway giving the finger to honking motorists. Such daffy nonsense is indicative of the delightful satire in Thinking Cap Theatre’s The Book of Liz, a hoot by Amy and David Sedaris.
The key to enjoying world premieres like Uncertain Terms at The Theatre at Arts Garage is to understand that you are seeing a work in progress. So picking out what works and what doesn’t is part of the reason to look in on Allison Gregory’s flawed but droll exercise in quirky whimsy about an extended family laying conflicting claims to the same home.