Reviews
Riverside’s Sister Act Has Slim Story But Visual Pizzazz
When a theatrical production’s scenery, lighting and costumes get as much attention as the characters, chances are the story is a bit slim. You see that clearly with Riverside Theatre’s eye-popping Sister Act, a co-production with the venerable Walnut Street Theatre of Philadelphia.
Wick’s Take On I Love A Piano Is How To Do A Musical Revue
Not everyone is a fan of musical revues, but if you’re going to mount I Love A Piano, that justifiably popular evergreen staple of regional theaters over the past decade or so, this is the way to do it.
Evening Star’s Murdered To Death Is Supremely Silly Fun
In Evening Star’s Murdered To Death, this comic murder mystery satire becomes so supremely silly with slapstick, overheated melodrama and an endless supply of verbal blunders that the actors have little recourse but to succumb to the infectious laughter from the audience.
Roof! Reaches Heights In Its Love Affair With Miami Locale
There’s a rhythm to Ricky J. Martinez’s writing in his new play Roof!, which is having its world premiere at New Theatre. If there was a tin roof in Roof! (there isn’t), the words would sound like a tap, tap, tap on the tin. It has to do mostly with how Martinez has constructed the piece, his Ode to Miami. It’s “Miami language dealt in a Felliniesque way,” says one of the characters. It’s true.
Flawed Dirty Dancing, The Stage Musical, Still Ends With A Lift
Broadway Across America’s Dirty Dancing: The Classic Story On Stage on tour at the Broward Center is a flawed and misconceived project with a noticeable lack of fire, but much can be forgiven when the show focuses on hardbodies writhing to infectious pop tunes.
To Go Or Not To Go: House Theatre’s The Hammer Trinity
The question that patrons and colleagues have kept asking critics with trepidation during the past week or so is whether they should invest more than 9 3/4 hours and $150 for each ticket to see the House Theatre of Chicago’s epic three-play production comprising The Hammer Trinity as part of the Arsht Center’s Theater Up Close series.
Island City’s Latest Beats Prejudice Into ‘Submission’
Jeff Talbott’s The Submission, enjoying its regional premiere from Island City Stage, is predicated on the realization that “Everyone’s a little bit racist.” It charts the ignition of a racial flashpoint in the theater world over the span of a year, as liberal creative types are forced to confront long-dormant prejudices.
Williams’ ‘Two Character Play’ At MTC Uses Inventive Device, Yet Gets Lost In Isolation
There’s a daringness to Stephanie Ansin’s vision at Miami Theater Center that makes you find things to love about a piece, even one that ends up having more than a few problems. As a continuation of her exploration of themes of isolation and entrapment, Ansin and company have chosen Tennessee Williams’ The Two Character Play.
FGO’s Shattering ‘Passenger’ Shows Why Opera Exists
Florida Grand Opera’s shattering production of Mieczyystaw Weinberg’s The Passenger. explains why opera exists and what it can be.
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