Tag Archives: Arsht Center
The stirring musical Fun Home is a detective story in which the mystery is never solved, but the investigator comes to terms with the existence of the enigma. What Zoetic Stage’s triumphant production does better than the Tony-winning production is its depiction of the unalloyed joy and bottomless agony of discovery in that journey.
Small Mouth Sounds is punctuated with grunts, moans, stamps, slaps, sighs, whimpers and snores, but fewer words are spoken by the leading characters than in an entire evening with Blue Man Group. That provides the wellspring of considerable humor, ample poignancy and significant themes about the ineffectiveness of verbal communication and the supremacy of simple human emotion.
If it’s February, then theater companies are taking advantage of the visiting snowbirds presence to announce what they hope will be an enticing slate of titles for the 2018-19 season.
Over 21 years, City Theatre’s ever-expanding enterprises have developed and maintained a brand-level reputation for entertaining theater; its return to cool weather programming with the current edition of Winter Shorts is just as diverting.
If you know where to look, certainly you can find reliable warhorse titles in the upcoming theater season in South Florida, but it’s easier to find vibrant, contemporary and challenging offerings.
City Theatre’s Summer Shorts, which only recently began showcasing musicals, includes three this year including one by Lin-Manuel Miranda.
Damaged by yet another homogenized film version of Rodgers & Hammerstein’s work, few think of The King and I as a piece deeply focused on incipient feminism, international politics and the challenge of leadership. But the national tour at the Arsht Center of the Lincoln Center revival underscores how prescient this was when it was written in 1951.
(The following is an updated review from 2012 plus a feature story written about this same production’s original visit to the Arsht four years ago. Most of the cast is the same, but several magical effects have been tweaked or …
Zoetic Stage’s brilliantly-executed bravura production of Harold Pinter’s 1960 The Caretaker may be as baffling as Waiting For Godot. But every element of this comic drama is superb from acting that embraces Pinter’s notorious silences to the fluid staging to the evocative set design to the transcendent lighting.
This may be heresy, but maybe grand opera shouldn’t always be so grand. Florida Grand Opera’s current production of Tchaikovsky’s romantic tragedy Eugene Onegin reportedly has a more intimate feel than many predecessors. But that only points the way to an idea that might make this classic even more affecting.