Here’s a look back at 2014 including a very subjective subjunctive reductive list of outstanding shows, performances and developments guaranteed to make someone unhappy they were not on the list. Take comfort in that there was so much good work that this is the crème de la crème de menthe.
Posted in Features
Tagged 42nd Street, A Chorus Line, Abby Perkins, Abigail Berkowitz, Actors’ Playhouse at the Miracle Mile, Alexander Zenoz, Amy Miller Brennan Anne Chamberlain, Andy Barbosa, Angie Radosh, Antonio Amadeo, Arca Images, Arsht Center, Arts Garage, Assassins, Back of the Throat, Bad Jews, Blythe Gruda, Bruno Vida, Carrie, Centralia, Chaz Mena, Chess, Chris Crawford, Christina Groom, Church, Clark Gable Slept Here, Clay Cartland, Coconut Grove Playhouse, Dana Castellano, David Arisco, Edges, Elizabeth Dimon, Ellis Tillman, Eric Alsford, Ethan Henry, Faiza Cherie, GableStage, Gidion's Knot, H2OMBRE, Hedda Gabler, Hurricane, Island City Stage, Jerry Gulledge, Jerry Waxman, John Archie, Julie Kleiner, Karen Stephens, Katherine Amadeo, Keith Garsson, Laura Ruchala, Lela Elam, M Ensemble, Mad Cat Theatre, Makeba Pace, Maltz Jupiter Theatre, Marcia Milgrom Dodge, Margaret Ledford, Mariand Torres, Mark Sanders, Michael McKeever, Mike Eidson, Miracle on South Division Street, Mothers And Sons, Murder Ballad, My Old Lady, Natalia Coego, New Theatre, Nicholas Richberg, Nicole Piro, Nilo Cruz, outre theatre company, Palm Beach Dramaworks, Parade, Patrice DeGraff Arenas, Patrick Fitzwater, Paul Reekie, Pembroke Pines Theater of the Performing Arts, Peter and the Starcatcher, Plaza Theatre, Primal Forces Productions, Ricky J. Martinez, Robert Johnston, Ron Hutchins, Serafín Falcón, Shane Tanner, Slow Burn Theatre Company, Summer Shorts, Sunset Baby, Terry M. Cain, The King and I, The Marvelous Wonderettes, The Mountaintop, The Trouble With Doug, The Wick Theatre, Thinking Cap Theatre, Tim Altmeyer, Tom Wahl, University of Miami, What's New Pussycat, William Hayes, Yoshinori Tanokura, Zoetic Stage
GableStage’s production of Terrence McNally’s script Mothers And Sons surpasses the Broadway premiere by depicting close-up the devastating pain when deep emotional wounds inflicted decades earlier are ripped open again. And it depicts the process of rending apart the psychic scab in unforgiving real time.
Terrence McNally’s drama Mothers and Sons examines the chasm that AIDS opened when troubled families were forced to face the sexuality of a loved one. But the play also shines a spotlight on that generational shift in perceptions that could only be chronicled by someone like the 75-year-old McNally who lived through that chapter of History.