Tag Archives: Tom Wahl
By Oline H. Cogdill Years ago, one of my sisters-in-law said that Thanksgiving was her favorite holiday because it was not connected to any religion and had no political nor controversy connotations. Well, those days have certainly passed as Thanksgiving …
By Aaron Krause Picture yourself almost continuously laughing while maintaining an iron grip on the novel you are reading. Your eyes have remained wide open for so long that your eyelids feel heavy. But you force them …
A baker’s dozen actors we’ve seen in myriad roles over the past decade or more submerge themselves so deeply in their characters that they are nearly unrecognizable. An unequalled assemblage of A-list talent and accumulated skill merge into a single ensemble in Palm Beach Dramaworks’ vibrant revival of the classic jury room drama 12 Angry Men.
Actors and other artists are huddling at Palm Beach Dramaworks in preparation for a timely revival of 12 Angry Men that looks at interpersonal interplay as well as justice.
Like death and taxes, one of the few truly dependable things in life is that the venerable Summer Shorts from City Theatre is going to be a satisfying mix of light comedy with a few mildly serious moments. And its silver anniversary production remains a thoroughly entertaining source of 10-minute plays executed by a seasoned cadre of pros.
The soul-killing inherent in the film dream factory’s deconstruction and then sanitized reconstruction of its icons has been a popular topic, from 1932’s What Price Hollywood to four versions of A Star is Born. But Michael McKeever’s incisive world premiere The Code at The Foundry attacks it from a different fresh angle that is painfully topical.
Shattering. Penetrating. Upsetting. Only a few of the adjectives elicited by Claudia Rankine’s drama The White Card at GableStage, a searing if polemic evening cross-examining progressive white citizens who believe they are opposing racial inequity and racist violence. How you interpret what you hear and see here will vary wildly depending on how you view yourself and what you believe.
Theater is often political: but sometimes, like The People Downstairs, Michael McKeever’s harrowing world premiere at Palm Beach Dramaworks, the relevancy of the Dutch people hiding the Anne Frank family only magnifies as current events overtake them.
Many artists define themselves by a calling that relies on faith that their art form will always be there. But in 2020, the foundation of their sense of who they were and what they believed made their lives worthwhile vanished. They were forced into introspection about the primacy of their profession and their art in their lives. Here, they reveal what they learned about South Florida theater and especially themselves.
Six months into the pandemic, theater artists are struggling with a profoundly damaging dimension particular to their purgatory-like limbo: The calling that gives their lives meaning requires interaction with other people in the same room. Late this summer, 33 South Florida storytellers agreed to draw back the curtain on their backstage battles that form the spine of an all too real three-act drama.