Tag Archives: Michael Leeds
By Aaron Krause You’ve got to admire and respect actors: For them, gigs can be few and far between. And that means they must often work odd jobs to pay the bills, while continuing to practice their craft. When actors …
Jon Brittain’s prescient, abundantly insightful play Rotterdam at Island City Stage, captures the messy, shattering fallout from gender fluidity for the transgender person as well as their friends, families and lovers.
The South Florida Theatre League has announced the 2022 Remy Awards recipients to be given at a live ceremony Dec. 5.
An unintended resonance echoes in Empire Stage’s production of Misery that Stephen King likely did not quite foresee. In a world where some people steadfastly, even violently believe whatever they want to believe, somewhere Annie Wilkes is shrugging and asking “What’s your point?”
Armature premiering at Island City Stage explores racism, politics, homosexuality, marital relations in tale suffused with humor and tragedy. The deeply committed work of the cast, co-directors and design team delivers the guts of Andrew Kramer’s overarching earnest call to aggressively address the social challenges of the day. But this admirable production illustrates the script still need a bit more work.
The Twentieth Century Way creates intersecting, overlapping realities in Island City Stage’s celebration of its 10th season by restaging its 2012 inaugural play. This thought-provoker melds questions about people acknowledging their true identity, amalgamating actors in general hiding behind their roles, and gay men hiding their sexuality from a homophobic society and themselves.
Drew Droege’s Bright Colors and Bold Patterns deftly avoids common tropes of the solo show in its compulsively watchable regional premiere at Island City Stage, a fringe festival-style tour de force for actor Thomas Mark.
In an exceedingly timely appearance, Island City Stage mounts a scathing production mirroring current tumult about race in America — a taut, intense, drama The Niceties.
Six months into the pandemic, theater artists are struggling with a profoundly damaging dimension particular to their purgatory-like limbo: The calling that gives their lives meaning requires interaction with other people in the same room. Late this summer, 33 South Florida storytellers agreed to draw back the curtain on their backstage battles that form the spine of an all too real three-act drama.
Given the multiple challenges inherent in mounting a stage version of the iconic film The Graduate, the Empire Stage production does reasonably well because of the commitment of everyone involved, but it does not qualify any better than an average night of theater.