Tag Archives: Thinking Cap Theatre
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 nominations for Carbonell Awards honoring theatrical excellence in South Florida released today provide some interesting material for observers to chew over. The nominations seem to depict a very healthy year for musicals and a less impressive number of new works produced, quality notwithstanding. The standout element was the large number of nominations honoring young and/or struggling companies.
Like the rest of the country, South Florida theater took tentative steps throughout 2013, banking on the promise of a recovering economy and a durable demand for art. Evidence was visible across the three counties: theaters mostly opening not closing, established companies moving into new venues, young companies finding audiences, runs extended, a continued commitment to riskier experiments .
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.
Thinking Cap Theatre’s production of Nick Hadikwa Mwaluko’s Waafrika is a deeply earnest and illuminating if imperfect examination of the tragic toxicity of tradition. But even Waafrika’s flaws are washed away by one of the most harrowing finales seen on a local stage.
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.
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.
Despite the raunchy discussion of every kind of sex, the flamboyantly omnisexual emcee, and, oh yes, the title – The All-American Genderf**k Cabaret – this irreverent satire from Thinking Cap Theatre sheathes a compassionate lament for the difficulty of forging meaningful relationships amid the sexual maelstrom of the 21st century
Seeing life through the prism of offbeat characters such as the oddballs populating the absurdist comedy Love Burns sometimes helps us perceive the modern world more clearly than any naturalistic drama.The two daffy playlets produced by Thinking Cap Theatre are bitingly funny and sharply critical in their depiction of what passes for romance among twenty-somethings in the 21st Century. We’re laughing at them, but we’re also a little worried at the characters’ shallow definition of love.
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.