Tag Archives: Patrick Fitzwater
PART TWO: One month into the nation-wide shutdown of live communal theater due to COVID-19, South Florida companies, like those in so many other regions, are trying to write Act Two with little clue how Act Three will play out. In this first of two parts, leaders from local companies and venues a limn this tale of confident hope and chilling fear, cold balance sheets with seven digits in the red, and blue sky imagining what theater will look like in two, three, 18 months.
PART ONE: One month into the nation-wide shutdown of live communal theater due to COVID-19, South Florida companies, like those in so many other regions, are trying to write Act Two with little clue how Act Three will play out. In this first of two parts, leaders from local companies and venues a limn this tale of confident hope and chilling fear, cold balance sheets with seven digits in the red, and blue sky imagining what theater will look like in two, three, 18 months.
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.
Slow Burn Theatre Company’s Shrek the Musical is pure unadulterated fun, not just youngsters in the audience watching familiar fairy tale characters cavort in atypical ways, or older kids enjoying nose-thumbing humor involving farts and belches, but also adults quietly enjoying the more sophisticated jokes, cultural references and gentle skewering of the unrealistic tropes they were raised on.
Intentional or not, Slow Burn Theatre Company producing Priscilla, Queen of the Desert at the height of Pride Week, near the 50th anniversary of the Stonewall riots, is the ultimate synergistic commentary. Its edition of the reliably infectious feel-good musical rises another level into a conscious celebration of identity. Indeed, pride unfettered and unabashed explodes with the pure joy.
When the 9 to 5 bowed in 1980 , the movie about women rebelling against being taken advantage of was downright funny, even if the injustice and sexism it depicted was universally acknowledged as all too common. The musical version revived by Slow Burn Theatre Company is still pretty funny, but in the wake of the #metoo movement, it inherently contains a bit more topspin on the revenge fantasy against behavior now deemed inexcusable.
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.
The Christmas season officially opened this weekend wrapped in pink. Elle Woods, leading a perky singing and dancing ensemble in Slow Burn Theatre Company’s ebullient Legally Blonde, lit up the Broward Center with a positive attitude that probably allows that Santa Claus might yet exist
Slow Burn Theatre hembraces this glam/grunge rock musical headlined by a protagonist who suffered a botched sex-change operation. It’s an in-your-face raunchy celebration of alternative sexuality, a show that recognizes absolutely no bounds and revels in it.
If there’s any way to get folks to the theater who don’t usually go, Slow Burn’s Rock of Ages can do it. Director/choreographer Patrick Fitzwater knows exactly how to squeeze every inch of character out of this cheesy, goo fest of a jukebox musical to entertain aforementioned non-theater types, who can’t wait to re-live the glory days of the 1980s, of which the soundtrack of the show relies.