Tag Archives: Scott Douglas Wilson
Jealousy, ego and unbridled schadenfreude that exist in any human being seem to be intensified among the rarefied spirits we call artists – at least that seems to be thrust of Mark Ravenhill’s droll little satire, Pool (No Water) enjoying a hoot of an outing thanks to Thinking Cap Theatre.
The tiny Thinking Cap Theatre, which built its reputation on experimental, provocative and socially-conscious work, plans to double its programming and staffing while retrofitting a new venue in Fort Lauderdale that can cater to twice the nightly audience.
There’s more to Thinking Cap Theatre’s inventive The Rover than staging a 300-year-old play with oomph enough to keep a 21st century audience interested. What director Nicole Stodard (who is also the artistic director of Thinking Cap Theatre) has done is to craft an inventive, ambitious and quite delicious offering of England’s first professional female playwright’s navel gazing study of the dating games people play. And watching Stodard’s adaptation of Aphra Behn’s The Rover proves that the battle of the sexes hasn’t changed much since 1677.
New Theatre’s production of Robert Caisley’s sardonically titled Happy is not an evening you “like” watching an “emotional terrorist” spend 80 minutes mercilessly carving away a nebbish’s illusion of well-being. But even with a flawed mounting of a script that still needs work, Happy is undeniably an intriguing examination of modern man burying true feelings under a socially-acceptable but life-denying veneer.
The bonds of friendship and the power of art to transform lives are illustrated in The Drawer Boy by Michael Healey, now receiving a lovely production at Thinking Cap Theatre in Fort Lauderdale.
Comedy. Tragedy. Absurdist farce. Subtle satire. Family drama. Sociological tract about race relations. Juan C. Sanchez’s world premiere Property Line at New Theatre encompasses all these and more in an intellectually intriguing, promising script that needs a lot of work before it will gel into a satisfying evening of theater.
Robert Caisley’s world premiere script for Winter at New Theatre could use some pruning and the two lead actors could use a bit more stage time to get comfortable with the punishing cascade of dialogue. But neither flaw cripples the three from creating an ultimately harrowing evening of drama under the direction of Ricky J. Martinez as we watch the already fractured family melt down completely.
Sipiwe Moyo is a skilled enough actress that being an African American woman became nearly irrelevant to her playing the title role in New Theatre’s production of Henry V. Despite a long list of carps and criticisms, this is a mildly imaginative production that has elements worth seeing, But the entire production, was lacked the rousing charismatic magic essential to drive this narrative.