City Theatre’s production of Building the Wall opens with audio of then-candidate Donald Trump spewing some of his more incendiary anti-immigration rhetoric. The first line has yet to be spoken, and already you can feel your blood pressure start to rise.
If you know where to look, certainly you can find reliable warhorse titles in the upcoming theater season in South Florida, but it’s easier to find vibrant, contemporary and challenging offerings.
Posted in News
Tagged Actors Playhouse, An Inspector Calls, Area Stage Company, Arsht Center, Arts Garage, Billy and Me, Branden Jacobs-Jenkins, Broadway Across America, Broward Center, Building The Wall, City Theatre, Delray Beach Playhouse, Evita, Florida Children's Theatre, Fun Home, GableStage, Island City Stage, J’s Cultural Arts Theatre, Lake Worth Playhouse, Main Street Players, Maltz Jupiter Theatre, Miami New Drama, Million Dollar Quartet, MNM Productions, New City Players, On Your Feet!, outre theatre company, Palm Beach Dramaworks, Parker Playhouse, Pembroke Pines Theatre of the Performing Arts, Primal Forces, Robert Schenkkan, Slow Burn Theatre Company, Terry Teachout, The Humans, Theatre Lab, Thinking Cap Theatre, Wick Theatre, Zoetic Stage
Indisputably, regional theaters have been a significant wellspring for new plays reaching back 30 years. But a quickening sea change has occurred quietly but demonstrably over the past decade: Regional theaters – once reliant on warhorses and the latest New York hit — have become the primary incubator and showcase for new work in America
Posted in Features
Tagged Actors Theatre of Louisville, All The Way, American Theatre Critics Association, Amy Rose Marsh, ART, Arts Garage, Barrington Stage, Becky's New Car, Berkeley Rep, Christopher Demos-Brown, Contemporary American Theatre Festival, Daniel's Husband, Deborah Zoe Laufer, Denver Center’s Colorado New Play Summit, Ed Herendeen, Eugene O’ Neill Theatre Center, Florida Stage, Gideon’s Knot, Harold and Mimi Steinberg Charitable Trust, Humana Festival of New American Plays, I and You, Island City Stage, Jim Steinberg, Johnna Adams, Ken Ludwig, La Jolla Playhouse, Lauren Gunderson, Louis Tyrrell, Lucas Hnath’s The Christians, Mad Cat Theatre Company, Manhattan Theater Club, Michael McKeever, Nan Barnett, National New Play Network, New Theatre, Nilo Cruz, Oregon Shakespeare Festival, Paper Mill Playhouse, Playwrights Horizon, Public Theater, Pulitzer Prize, Robert Schenkkan, Samuel French Inc., South Coast Rep, Steppenwolf, Steve Yockey, Steven Dietz, Sundance Institute, Theatre Lab at Florida Atlantic University, Zoetic Stage
Although the Actors’ Playhouse folks are working very hard to master this Everest of a play, All The Way, about Lyndon Johnson’s campaign to pass the Civil Rights Act of 1964, this time they have barely fought the work to a standstill.
Posted in Performances, Reviews
Tagged Actors Playhouse, All The Way, Chaz Mena, David Arisco, Jodi Dellaventura, Jovon Jacobs, Lyndon Baines Johnson, Marckenson Charles, Martin Luther King, Michael Turner, Peter Haig, Robert Schenkkan, Tom Wahl
These are not at all necessarily what we predict will be the best shows this season (although they may be) or the best attended or the most popular or the most award-winning. We don’t care. These are the shows we most want to see for a variety of reasons. The list is woefully incomplete, likely with major but unintentional omissions.
Posted in Features
Tagged Actors Playhouse, All The Way, An American In Paris, Arcadia, Arts Garage, Between Riverside And Crazy, Blues In The Night: A Musical, Broadway Across Fort Lauderdale, Broadway Across Miami, Finding Mona Lisa, GableStage, Guys and Dolls, Island City Stage, Kravis on Broadway, Maltz Jupiter Theatre, Michael McKeever, Nine, Palm Beach Dramaworks, Rob Donohoe, Robert Schenkkan, Something Rotten, Son, Sunday in the Park With George, Tennessee Williams, The Night of the Iguana, Titanic, Truman Capote, Zoetic Stage
Robert Schenkkan’s Tony-nominated play All The Way is blessed with a fascinating portrait by Tony-nominated Bryan Cranston as LBJ, but it’s his script’s premise that makes the evening stay with the audience days later. It contemplates that the need for pragmatic sacrifices, even for the most noble of goals, can corrupt the soul.