Tag Archives: Skye Whitcomb
Outre’s The Violet Hour Is A Daring, Flawed Modern Medea
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.
Outre’s Bed & Sofa Is Uneasy Mix Of Opera, Silent Film, Theater
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.
Outré Theatre Premieres Silent Movie Musical ‘Bed and Sofa,’ Adding Its Own Touches
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.
Outre’s Bloody Bloody Andrew Jackson Is, Well, Bloody Good
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.
Speaking Verse Needs Work, But Outre’s Othello Is Praise-Worthy Undertaking From Outre
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.
Outre’s Nightmarish ‘Back Of The Throat’ Exposes How Post 9/11 Paranoia Allows Abuses
The temptation is to describe the nightmarish Back of the Throat as Kafkaesque as Outré Theatre Company depicts an America gone mad. But it’s not. That’s the real horror. The extremities unfolding before the audience are a logical if artistically exaggerated extrapolation of the paranoia and xenophobia unleashed against Arab-Americans after 9/11. It’s naturalism not surrealism.
Outre Kills It With Bleak, Minimalist True-Crime Musical
Thrill Me, a stunning musical about the child murderers Leopold and Loeb, closes out Outre Theatre Company’s season with a two-man, one-act piece noteable for offbeat immediacy and barebones potency of a feverish fringe festival favorite.
Outré’s Mr. Marmalade Is An Acquired Taste, Perfect for Savvy Theatergoers
Outré Theater Company goes out on a limb for Mr. Marmalade and for savvy audience members who want to be challenged, it couldn’t be more smartly satisfying.
Outre’s Ambitious Vision Of Much Ado About Nothing Only Works Part Of The Time
In keeping with Outré’s commitment to go-big-or-go-home, its Much Ado About Nothing is a valiant effort that only works some of the time. There are low comedy laughs, but the intricate word play and fleeting moments of verbal loveliness usually gets lost in the mouths of actors uncomfortable with Shakespearean speech.
Not At All For Everyone, Outre’s Bloody Bloody Andrew Jackson Was A Bloody Bloody Blast
Outré Theatre Company staged a concert version of Bloody Bloody Andrew Jackson this past weekend at Mizner Park to see whether the fledgling company could pull off the logistics and to ask the audience whether they want to see a full production. Count this as the first enthusiastic “yes.”
A PaperStreet Web Design
