Tag Archives: Peter Librach
The first half to two-thirds of the West Boca Theatre Company’s Brighton Beach Memoirs is sincere, but unsubtle and unsatisfying theater. Then this production slowly starts to ramp up with increasingly affecting, occasionally moving performances that you wish had been there in the previous 90 minutes of stage time.
Sometimes the star of the show is the words.. Main Street Players does a credible job bringing life to the comedy 37 Postcards, but its prime virtue is Michael McKeever’s hilarious script, replete with witty lines, classic vaudevillian timing and copious opportunities for actors to do more slow burns than Jack Benny.
GableStage’s rendering of Paula Vogel’s Indecent is freshly distinctive from Rebecca Taichman’s New York staging and from the rapturously received version that Palm Beach Dramaworks delivered last season. It’s not better or worse; it is its own. And its quality takes a back seat to no one.
Lightning Bolt Productions,’ Little Shop of Horrors delivers yet another merry recreation of one of the most amusing small musicals in the canon: an intentionally silly, unapologetically unsubtle hoot. If you haven’t seen in it in a while or, hard to believe, haven’t seen it at all, Lightning Bolt’s ebullient edition is a perfect reason to visit or re-visit Skid Row.
When entering a theater playing a musical you’ve enjoyed numerous times, it’s comforting to open the playbill to find the names of proven talents that reassure that you and the material are in good hands. Names, for instance, like Mike Westrich, Bruce Linser, Mallory Newbrough, Paul Reekie and Jim Ballard – some of the dependable hands delivering a solid entertaining edition of the delightful Little Shop of Horrors from MNM Productions.
Seniors and caretaking Boomers recognize the real pain informing the facile catchphrase “Growing old is not for sissies” – a quality sharing the stage with copious laughs in Broward Stage Door’s production of Neil Simon’s The Sunshine Boys.
The stage is a fungible place. Sets can transform, actors can fly, characters can break walls, especially the fourth. There is limitless potential in the blank canvas of floorboards and lighting, as Stuart Meltzer’s gently experimental The Goldberg Variations reminds us at Island City Stage.
A top drawer cast marks an unusually but intentionally bare bones production of Dan Clancy’s new play Middletown tracking the arc of four lives.
When the young Boca Raton company Marquee Theater’s production nails key moments of the indestructible Fiddler on the Roof, it’s exhilirating and entertaining on its own merits; when it falters, the material is so strong that it carries the decidedly uneven show.
Broward Stage Door’s Broadway Bound may not land perfectly all the time, but these theater pros deliver a no-excuses-needed effort that works often and effectively and ultimately satisfies.