Tag Archives: Rick Pena
Tight choreography, outstanding leads, a solid supporting cast and a fluid band infuse Slow Burn Theatre’s trip to Memphis. The rousing production hits the ground running in the opening scene set in a black nightclub in Memphis’ Beale Street area and doesn’t slow down until the last “Na, na, na, na” of the ovation.
Be grateful that Slow Burn Theatre Company with its audacious affection for large scale challenging musicals has decided to mount The Secret Garden, that ode to rebirth, memorable for its lush unconventional score that resembles streams of music intertwining into an aural waterfall.
Tarzan: The Stage Musical, by regional theater troupe Slow Burn Theatre plays just fine in the smaller, almost 600-seat Amaturo Theater at the Broward Center for the Performing Arts, but, truth be told, it could have easily passed for a touring road show version that’s usually on stage next door in the more than double-the-size Au-Rene Theater. Yes, it’s just that good.
Slow Burn Theatre has certainly captured Xanadu’s vibe in the company’s spirited, stupidly happy revival of its own 2012 production, which opened last weekend in Aventura and which will soon tour Delray Beach and Fort Lauderdale
Thomas Wolfe warned that you can’t go home again, but Slow Burn Theatre Company’s revival of its 2012 production of Avenue Q is a welcome and joyful return to the neighborhood and the ol’ gang.
A near epic vision unfolds in Slow Burn Theatre Company’s brave, ambitious and dark The Hunchback of Notre Dame resulting in the one of the most powerful musicals seen in South Florida in recent years featuring two memorable performances, a hardworking ensemble and orchestra, evocative production values and an invaluable choir flanking the stage.
Since you can understand the lyrics here better than in any previous production, Slow Burn Theatre Co.’s Spring Awakening, the powerful punch and pungent poetry come through with a clarity that elevates this edition over the others. It ranks among the troupe’s most polished, accomplished and effective work.
Fine talent, stirring music and Slow Burn Theatre’s enthusiasm elevate the musical Violet, but the material has consistent void somewhere deep down in this musical’s emotional investment.
2015 produced a wild variety of snapshots to paste in the theatrical scrapbooks: a male Dolly Levi, a homicidal dimwit slicing carrots, a kidnapper forcing her captives to learn nonsense, a tsunami engulfing a Japanese village, a green-gunked survivor of toxic sludge singing love songs to his blind librarian girlfriend. You know, just another year for regional theater in South Florida.
With this production of Big Fish, Slow Burn Theatre Company has proven itself with no asterisks to be the equal of any company producing musicals in the region, some with far more resources, government grants and well-heeled donors — not to mention among the most adventurous in tackling what few others attempt.