Tag Archives: Sabrina Lynn Gore
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.
Audience members have few joys as pungent as discovery. Which brings us to the fledgling Outré Theatre Company and Tuesday night’s staged reading of the ink-black comic drama Dog Sees God: Confessions of a Teenage Blockhead at Empire Stage– and Outré’s reading in May of the chamber musical tick…tick…BOOM.
As the music swelled Monday at Outré Theatre Company’s concert production of tick…tick…BOOM!, a thought kept interfering with my becoming completely lost in Jonathan Larson’s chamber musical. There’s hope.