Tag Archives: Yevgeniya Kats
Even though Miami Theater Center wants “children’s shows” to be enjoyed by all generations, Everyone Drinks The Same Water is likely to be most appreciated by middle schoolers. As always, the production is splendid. But its subject matter about tolerance seems a bit too sophisticated for the elementary school and too simplistic for the high schoolers and adults.
Editor, consultant and fashion icon Isabella Blow lived a tumultuous life that encompassed trend-setting style, two marriages plagued by infertility, championing designers like Alexander McQueen who then left her behind, coping with her brother’s drowning, battling ovarian cancer, trying electro-shock therapy to counteract depression and attempting suicide several times. So, of course, Mad Cat Theatre Company is turning her life into an entry in the annual South Beach Comedy Festival for two shows on Wednesday, April 17.
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.
Miami Theater Center’s inaugural adult project, a fresh vision of Chekhov’s Three Sisters, is not a smoothly gelling work of art, let alone entertainment. The flaws are considerable, persistent and cannot be discounted. But they are outweighed by sustained bursts of dazzling imagination, passion, skill, craft, ingenuity and a commitment to creating a unique theatrical experience.
The script of Dutchman, Amiri Bakara’s classic 1964 play of racial and sexual politics, crackles with the explosive rage that Langston Hughes’ predicted in “A Dream Deferred.” The fact that this production doesn’t find that passion or electricity until two-thirds of the way through the 40-minute play doesn’t prevent the audience from appreciating Bakara’s themes or enjoying the laudable aspirations of the ambitious production.