Reviews
Family, Science, Feminism Evolve In Arts Garage’s Stimulating “The How And The Why”
Fine acting and direction elevate a script that navigates intellectual mazes and human emotions in The How and the Why at Theatre At Arts Garage.
Dashed American Dream at the Center of Zoetic Stage’s Marvelously Rich “Detroit”
Detroit, Lisa D’Amour’s finalist for the Pulitzer Prize, is a thought-provoking piece of theater. The Zoetic Stage production finds its own complex groove in Detroit to present a must see in Miami.
Sumptuous, Entertaining Reboot Is Lovely But Not Rodgers & Hammerstein’s Cinderella
Rodgers + Hammerstein’s Cinderella is a lush, imaginative and polished production nearly guaranteed to delight audiences of all ages. That said, if you’re looking for Rodgers and Hammerstein’s Cinderella in “Rodgers + Hammerstein’s Cinderella,” you’re going to have to look very, very hard in the new tour.
Nilo Cruz’s Hurricane Swirls With Unbridled Passion, Superb Craft
The tempest dies down, but the emotional tumult rages on in Nilo Cruz’s superbly staged world premiere of Hurricane, getting a criminally brief run at Arca Images in Miami. Rarely do South Floridians see such a highly polished and boundlessly inventive alloy of words, sounds, movement and stage pictures as Cruz does here directing his work.
The Foreigner: A Droll Look At Seeing What You Want To See
The Foreigner at the Maltz Jupiter Theatre is a wry, knowing comedy, good-naturedly poking fun at human frailties and overlaid with a wacky daftness. The incisively observed social satire is sheathed in a broad, almost slapstick quality, sort of like Moliere crossed with The Three Stooges.
POZ, Getting Its World Premiere At Island City Stage, Has Its Share of Positives and Negatives
Loaded with lots of laugh lines and inside theater jokes, POZ at Island City Stage has some supremely likeable characters. Yet there’s just something a little bit too snappy about this world premiere. It tries just a bit too hard, especially when convincing the audience that this lively cast of characters are real people with real problems.
Miami Theater Center Delivers A Modern Day ‘Hedda Gabler’
After a half-century of sympathetic portraits of Hedda Gabler as a woman suffocating in a sexist societal straightjacket, Miami Theater Center gives us a cool, manipulative, self-centered creature whose primary complaint is she’s bored.
Wick’s Swing Is A High-Flying Enthusiastic Celebration Of Big Band Era’s Music And Dance
Bodies seem to fly through the air and end up in a plethora of entwined positions worthy of a terpsichorean Kama Sutra in The Wick Theatre’s thrilling musical revue Swing. Indulge yourself in one of the most energetic and uniformly talented dance corps we’ve seen here in many a year.
Outre’s Nightmarish ‘Back Of The Throat’ Exposes How Post 9/11 Paranoia Allows Abuses
The temptation is to describe the nightmarish Back of the Throat as Kafkaesque as Outré Theatre Company depicts an America gone mad. But it’s not. That’s the real horror. The extremities unfolding before the audience are a logical if artistically exaggerated extrapolation of the paranoia and xenophobia unleashed against Arab-Americans after 9/11. It’s naturalism not surrealism.
The Last Romance At Stage Door Twinkles With Realism
Broward Stage Door Theatre has mounted a warmly delightful production of Joe Di Pietro’s The Last Romance, a bittersweet play about love, loss and loneliness and how the twilight years hold out that last hope for the shimmer, twinkle and spark of love’s first bliss.
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