Tag Archives: Stephen G. Anthony
The world premiere of Confessions of a Cocaine Cowboy, a fact-based but stylistically executed play at Miami New Drama from filmmaker Billy Corben and screenwriter Aurin Squire, captures Miami’s drug-obsessed past through the eyes of a hitman.
Usually, Zoetic Stage’s director Stuart Meltzer’s deft work is almost invisible to audience members other than bringing a fresh vision to familiar titles. But his masterful work in The Curious Incident of the Dog in the Night-time is so clearly displayed that his reinvention becomes the “star” of the production.
What the musical Once illustrates on the stage of Actors Playhouse is the unparalleled power of song to capture and then share the pure pain and pleasure of love.
Dry Powder, GableStage’s excoriating tour that delves into the barren ethical landscape of big business is an unsparing drama whose copious humor comes from one character’s blithely limitless ability to do anything to maximize the bottom line with absolutely no concern for the human cost of her proposals.
A wave of sheer glory lifts the audience into a firmament of validation, redemption and pure beauty in the last ten minutes of Zoetic Stage’s production of the Stephen Sondheim-James Lapine masterpiece Sunday in the Park with George.
Okay, yes, Hand to God has cute obscenity-spouting puppets having sex on stage, but the similarities to Avenue Q stops dead right there. This scorchingly funny and aggressively irreverent play at GableStage is a pitch black comedy about using the fiction of religion to rationalize and excuse the baser natural instincts of Mankind.
To say that Sondheim’s Passion is not to every intelligent patron’s taste is an understatement. But if you can open yourself up to it, Zoetic Stage’s production is a transcendent work of performance art with the power to rip into your psyche and reaffirm the transformative power of love.
2015 produced a wild variety of snapshots to paste in the theatrical scrapbooks: a male Dolly Levi, a homicidal dimwit slicing carrots, a kidnapper forcing her captives to learn nonsense, a tsunami engulfing a Japanese village, a green-gunked survivor of toxic sludge singing love songs to his blind librarian girlfriend. You know, just another year for regional theater in South Florida.
Professionalism is the only explanation why this much talent—the cream of South Florida theater from the director to the cast to the creative team — invested itself so deeply into the flawed frippery of The Book Club Play at Actors’ Playhouse.
The central tenets of Baruch de Spinoza’s rationalist ethos are explored exhaustively and exhaustingly in GableStage’s intriguing production of David Ives’ New Jerusalem which surely counts as the textbook definition of “thought-provoking theater.