PPTOPA’s earnest, merely passable production of Cabaret is notable for a few solid performances, but especially for the script which, decade after decade, becomes an increasingly relevant warning. Even more than the original stories, Masteroff’s 1966 “book” warns of an everyday populace willing to accommodate the rise of a totalitarian regime that promises answers, even to the point of self-inflicted blindness to its dangers.
No matter the time zone, country or phase of the moon, Mamma Mia! is playing somewhere, in this case an inarguably competent production at The Wick Theatre. Even those who have never been a fan of the work have to admit its score contains tunes that spark Pavlovian responses of joyous clapping and swaying along in audience members, even if they’ve aren’t familiar with the ABBA “ouvre.”
The “horror” in Zoetic Stage’s Frankenstein shares little kinship with the film monster with bolts in his neck terrorizing the countryside or even the 1818 novel of science gone wrong. But a different very contemporary terror is there all the same from the breath-taking wordless prologue of a stitched together embryo clawing out of a pod to the silent final image of two bodies crawling through Arctic waste.
Jason Robert Brown’s brilliantly insightful and emotionally powerful Songs for a New World lets you know you’re not going crazy all alone in Slow Burn Theatre’s season opener that would be a triumph even if it didn’t signify a full-throated celebratory return of regional theater.
What better way to mark the return of live, in-person theater than to celebrate the major role that an audience’s imagination plays in this unique art form? In fact, the professional, nonprofit Miami New Drama (MIND) is offering audiences free admission to a return engagement of the Mexico City and New York-based, nonprofit company Por Piedad Teatro’s production of A Special Day.
The Twentieth Century Way creates intersecting, overlapping realities in Island City Stage’s celebration of its 10th season by restaging its 2012 inaugural play. This thought-provoker melds questions about people acknowledging their true identity, amalgamating actors in general hiding behind their roles, and gay men hiding their sexuality from a homophobic society and themselves.
The premise: A white director leads a multi-ethnic cast in a Midsummer’s Night as an answer to charges of institutional racism. But with wry humor and painfully incisive drama, Main Street Players’ edition of Andrew Watring’s “Shakespeare is a White Supremacist” examines the intersection of theater and racism as a metaphor for larger problems afflicting society in 21st Century America.
News: Miami New Drama, Main Street Players, MNM, Area Stage, Silver Palms, Actors’ Playhouse, Kravis, GableStage, Tovah Feldshuh
Theater isn’t just coming back to life, it’s emerging in a score of ways. Here’s a sampling of opening nights, fundraisers, new venues, even a call for ushers. News about Miami New Drama, Main Street Players, MNM, Area Stage Company, Silver Palm Awards, Actors’ Playhouse, Kravis Center, GableStage, Tovah Feldshuh