Reviews
The Naked Stage’s A Man Puts On A Play Is Antonio Amadeo’s Audacious And Ambitious Entry
The first hour of meta-theater in A Man Writes A Play in which students build a set, will fascinate civilians and amuse veterans and serves as the delightful curtain raiser to the more traditional scripted second act, an engaging and intriguing world premiere written, produced, designed, directed and co-starring Antonio Amadeo in a feat reminiscent of Orson Welles’ Mercury Theater productions on stage and in film.
Million Dollar Quartet Rocks The House: Four Musical Legends Come to Life
The roots of rock and roll are encapsulated in Million Dollar Quartet, a rollicking yet poignant musical about one historic night in Memphis when four country boys turned icons sang and played their way into history.
Diva-licious: In TWTP’s Delval Divas, Crime Pays Very Well
Well-heeled society matrons, now inmates in prison for white collar crimes, is the premise of Delval Divas, a comedy by Barbara Pease Weber, which is getting a fun and frothy treatment by The Women’s Theatre Project
Arsht Center’s New Musical ‘Girls vs. Boys’ No Knockout
Give the Arsht Center for the Performing Arts an A for effort for taking on a Herculean task of mounting an original show, and a rock musical for that matter, in times when theater audiences are more apt to settle for My Fair Lady or Fiddler on the Roof. Trouble is, Girls vs. Boys, which is being promoted as high-energy with a “throbbing” and “soul-bearing” score never reaches its potential.
M Ensemble Mounts A Royal Production of King Hedley II
Volcanic rage at bigotry and inequities that erode dignity pour out of these characters in streams of scalding toxicity in M Ensemble’s uneven but affecting production of King Hedley II. Performances from Ethan Henry and Makeba Pace, among other virtues, propel Hedley to the ranks of M Ensemble’s most memorable productions.
Maltz’ Amadeus Is Lovely To Look At, Even When You Can’t See The Actors’ Faces
Set in a gloriously decrepit 18th century theater created in the mind of an insane old man, the Maltz Jupiter Theatre’s production of Amadeus is a visually stunning and highly inventive vision of Peter Shaffer’s meditation on whether Great Art is divinely inspired, or even if God exists. But as beautiful as the stage pictures are, it does not reach its full dramatic potential here because it’s lit like an opera – meaning you can’t see the actors acting past the seventh row.
Hey, Pssst, Did You Hear About Neil Simon’s Rumors?
Broward Stage Door’s production proves Rumors may be one of the funniest Neil Simon plays you’ve never heard of. But it also underscores what your mother warned you: an unrelieved diet of the most delicious candy will eventually lose its punch.
Slow Burn’s Avenue Q Is An Irreverent And Joyous Winner
Life isn’t fair. That’s one of the bittersweet themes in Slow Burn Theatre Company’s Avenue Q. But what’s really unfair is that there’s only five performances left and unless you hustle this weekend or next, you might miss it. Once again, the little theater with a below-modest budget and full-scale ambitions has simply nailed another production, this time delivering a raunchy, irreverent and joyous opener to their fourth season in way west Boca Raton.
Plaza’s Driving Miss Daisy Driven By Veteran Hands
The most affecting moments in the Plaza Theatre’s solid, entertaining production of the venerable Driving Miss Daisy are the fleeting grace notes that have no dialogue, moments that result from being in the capable hands of old pros.
New Theatre’s Educating Rita Is Graded An Underachiever
It’s not encouraging when all through New Theatre’s production of Educating Rita you keep thinking what a great script Willy Russell wrote. This edition sloughs listlessly in the opening 45 minutes or so and really only begins to be mildly engaging near the end of the first act.
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