Tag Archives: Peter Simon Hilton
A war of words smoothly flows between two articulate, bright people with immensely opposing views on nearly every subject in British playwright David Hare’s drama Skylight, receiving a perceptive production at Palm Beach Dramaworks.
Skylight might seem just an intriguing play focusing on an older widower trying to rekindle a relationship with a younger woman with whom he was having an affair with while he was married. But David Hare’s drama to open at Palm Beach Dramaworks is far deeper and more complicated. Emotions are with conflicting socio-economic-political attitudes on a dozen very timely topics, all colliding in passionate verbal sparring.
In the prologue of Maltz Jupiter Theatre’s production of Dracula: A Comedy of Terrors, the actors literally throw out the book—chucking their musty copies behind them with the satisfaction of college graduates tossing their caps. And besides, they add, they want to get us all out of here within 90 minutes—an admirable goal for many new plays and, in this case, a small mercy.
Mere hours before the opening night of Equus at Palm Beach Dramaworks – a drama prompted by the true story of a troubled teen who blinded five horses – another troubled teen murdered 10 people in a nightmarish school shooting. But independent of that, its Equus stands among the most effective, perfectly executed productions that this company has wrought in its mission to deliver “theater to think about.”
Raw. The same carefully chosen adjective emerges in separate interviews with the two leading actors and their director to describe Equus, the shattering drama they are rehearsing for an opening this weekend at Palm Beach Dramaworks.
Palm Beach Dramaworks’ production of Arcadia is Tom Stoppard’s love letter to the miracle of human intelligence’s pursuit of learning — with a gentle jab at the hubris of those who are so taken with that pursuit.
The Audience, the West End sensation turned Tony winner , conjures 10 meetings, between Queen Elizabeth II and her prime ministers. The play’s regional premiere at Maltz Jupiter Theatre, is like watching an interstitially linked short-play collection. And like every shorts compilation, some of the pieces delight while others plod.
The strength of the acclaimed 2006 play Froist/Nixon is that no one is depicted in pure white hats or black hats. That facet is brought out in the Maltz’s production better than in any earlier edition thanks to a complex multi-faceted creation by actor John Jellison under the impeccable direction of J. Barry Lewis.