Tag Archives: Sabrina Lynn Gore
Just about two years after Island City Stage premiered Michael McKeever’s Daniel’s Husband and it currently playing off Broadway, Island City Stage takes on another world premiere play that has the makings of what could be a successful regional theater offering.
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
Sometimes the daring efforts of Outré Theatre Company work beautifully such as Back of the Throat, An Illiad and Thrill Me, sometimes not so well such as Bed and Sofa, and Othello. Often, it’s both as with the current world premiere of The Violet Hour, A Modern Medea.
The scruffy damaged denizens of New Orleans’ underclass depicted in the musical The Journey: The Story of Your Life really only have one dimension and the subtlety of a freight train, but, good God, the power that this cast and creative team from Outré Theatre Company invest in that one dimension is overwhelming.
35MM and this production require some effort from the audience to meet it more than halfway. It is, as they say, not for everyone’s taste. But it does represent an intriguing example of the current effort by young theater artists to find new ways to create their own brand of musical theater that speaks to them. In that, Evening Star’s 35MM is worth checking out.
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.