Tag Archives: Sabrina Lynn Gore
The collision of two never-subtle art forms in Bed and Sofa is certainly intriguing as befits Outré Theatre Company’s mission of fearlessly pushing the boundaries of theater, thanks in part to the commitment of Outré’s directors and performers. But this bizarre entry never lands solidly.
Perhaps if Rent hadn’t eclipsed everything that arrived in New York in 1996, maybe Bed and Sofa would have received the attention it deserved, in the eyes of Skye Whitcomb who is directing Outré Theatre Company’s “silent movie amber opera” in its Southeastern premiere at the Broward Center.
South Florida Theater patrons checking and responding to email during a performance has mushroomed in recent years, but it reached a high water mark last week indicating a worsening of the collision of technology, performance art, the obsession with staying connected and the etiquette of communal interaction.
With bracing anger, profuse profanity and biting satire that is more slashing than surgical, Outre Theatre Company’s Bloody Bloody Andrew Jackson will not to be everyone’s taste but for those whose preference run more to Rent than Mamma Mia, this is your acidic cup of tea.
Audiences need to savor the undeniable virtues of local Shakespearean productions — even when counter-balanced by well-intentioned but equally undeniable shortcomings. Such is the case with the laudable Outré Theatre Company production of Othello imaginatively directed by Christina Groom and featuring Troy Davidson in a persuasive central performance.
Sitting under a tent, sweating through the swelter, watching a faithful facsimile of a revival might not seem appealing to your everyday theatergoer. But bring an open mind to Thinking Cap Theatre’s play Church and savor a thought-provoking, exuberant even entertaining evening.
The Full Monty is one of those scruffy street mongrels that are undeniably cute and even inexplicably winning for short periods, but not a stray you want to take home. The Wick Theatre’s production of the musical is competent, perhaps one of the better renditions you’ve seen of it, but its not equal to the recent triumph with 42nd Street.
Playing a 5,000-year-old poet decrying humanity’s addiction to rage and violence, clothing his warning in a modern retelling of Homer’s epic tale of the Trojan War, this is not your grandma’s Avi Hoffman sitting here. But it is Hoffman sitting here in rehearsal, striving to learn 47 pages of dense script as the sole storyteller in Outré Theatre Company’s An Illiad slated to open Friday at The Studio at Mizner Park.
Tragedy suffused opening night at Outré Theatre Company’s inaugural production of the dark musical The Wild Party, but it wasn’t the story of Jazz Age hedonists plummeting through a doomed love quadrangle. It was so many hard-working artists’ work going down the toilet because of the worst sound of any production since Actors Playhouse’s infamous Hairspray last season.
Some troupes ease into existence with a modest, surefire and frugal first full production. Not Outré Theater Company. South Florida’s newest professional company bows Friday with Andrew Lippa’s The Wild Party. The 2000 off-Broadway cult hit combines a brilliant but edgy Jazz Age score with a jet black story of self-destructive hedonists in the 1920s who indulge in virtually every vice imaginable.