Tag Archives: Troy Stanley
For theater folks and movie buffs, the title is a giveaway, Clemenza & Tessio Are Dead. Those with a knowledge of theater will think of Stoppard’s Rosencrantz and Guildenstern are Dead, also Shakespeare’s duo in Hamlet, and movie fans may remember the secondary characters, Tessio and Clemenza, from 1972’s The Godfather film
The electrifying choreography by Al Blackstone and the vibrant staging by Marcos Santana in the Maltz Jupiter Theatre’s West Side Story not only wipe away any disappointment at not seeing Jerome Robbins’ vision, their work is so strong and original that Robbins rarely invades the audience’s consciousness.
There’s more than a bit of Noel Coward running through Broward Stage Door Theatre’s Victor/Victoria. It’s what makes this production tick, a true understanding, and might we say, appreciation of the slapstick foundation of the 1995 Broadway musical version of Blake Edward’s 1982 movie.
For a show that shattered a ceiling in 1983, La Cage aux Folles has become a warhorse in 2017. MNM Productions’ edition embraces the spangles, glitz and sheer Jerry Herman of it all. So if you haven’t seen it in a while, this is an entertaining reminder. What sets this apart is how it emphasizes the heart rather than the heat – and that’s a welcome emphasis for those who may have seen this classic once too often.
Classic American values of friendship, tolerance, freedom and a sense of subversive independence are lovingly and joyously resurrected in Slow Burn Theatre Company’s Big River, a revival-like celebration of an America that likely never existed but speaks to what we wish we had been and represent what we once hoped we’d be.
The Broward Stage Door Theatre production of the 1970 musical The Rothschilds, about the famed family’s rise from the German ghetto to become on the wealthiest families in the world, is a reasonably diverting afternoon of theater worth a look at a show rarely produced, but its ultimate potential seems just a few steps out of reach.
in these terrible times of violence, deprivation and polarization, the resonances in Palm Beach Dramaworks’ imaginatively reinvented production of 1776 are deafening. Amid the laugh lines, the dancing and the drama, there is a challenge to us across two and half centuries to deal with our current trials with the same virtues that our forefathers did.
A deeply polarized citizenry, partisans with irreconcilable ideas about the role of government, a stalled deliberative body, confusion, anxiety. Sound familiar? The current political climate has spurred Palm Beach Dramaworks to reinvent that July perennial musical 1776 to highlight the similarities between us and the Founding Fathers in its production July 1-24.
Island City Stage gives the first full performance of Michael Leeds’ Who Killed Joan Crawford, a comedy mystery about male friends invited to a birthday party dressed as Crawford characters.
Break out the martinis. It isn’t perfect, but it’s still a helluva lot of fun
The first question that everyone wants answered is: Is it possible to buy Lee Roy Reams as Dolly Levi in The Wick Theatre’s Hello, Dolly! The answer is “sometimes.” The answer also depends on how willing you are to accept the theatrical conceit of Reams being the second man ever to play the part, even with composer Jerry Herman’s blessing.