Tag Archives: Ben Sandomir
Creatures with the kind of quick wicked wit you only wish you had, the kind who rarely let pass the opportunity for a pithy exit line, populate Rich Orloff’s Veronica’s Position in Island City Stage’s thoroughly entertaining production.
When the 9 to 5 bowed in 1980 , the movie about women rebelling against being taken advantage of was downright funny, even if the injustice and sexism it depicted was universally acknowledged as all too common. The musical version revived by Slow Burn Theatre Company is still pretty funny, but in the wake of the #metoo movement, it inherently contains a bit more topspin on the revenge fantasy against behavior now deemed inexcusable.
If you are a Boomer (and be warned, maybe only if you’re a Boomer or their progeny), Slow Burn Theatre Company’s hilarious spoof Disaster! will be in contention for one of the silliest, stupidest and downright funniest nights you have had in theater in recent years.
Slow Burn Theatre Company’s rollicking race-down-the-hill production of Peter and the Starcatcher is a joyful hoot packed with more sight gags, puns, pratfalls, wordplay and even a bit of wistfulness than arguably any other recent work including the current The Play That Goes Wrong.
Seniors and caretaking Boomers recognize the real pain informing the facile catchphrase “Growing old is not for sissies” – a quality sharing the stage with copious laughs in Broward Stage Door’s production of Neil Simon’s The Sunshine Boys.
Hats off, Evening Star Productions, for insider’s theater that is satirically spot on in the comedy Gutenberg! The Musical.
You know you wanted to murder some abusive soul-crushing bullies and snobs when you were in high school. Heathers knows it and wants to liberate your daydream. So do the cool kids and not-so-cool kids at Slow Burn Theatre Company giving a hilarious don’t-miss production of the 2014 off-Broadway musical version of the 1988 cult classic film.
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.
Sometimes, as with Marquee Theater’s Jekyll & Hyde, the performances are so powerful that you forget the material isn’t worthy. Wildhorn’s pop-infused power ballad-addicted aesthetic divides fans. But there’s no ambivalence in this company’s enthusiasm and strong performances of Ben Sandomir in the title roles and, Alexandria Lugo as Lucy, the hooker-with-a-heart-of-gold and vocal-chords-of-steel.
With this production of Big Fish, Slow Burn Theatre Company has proven itself with no asterisks to be the equal of any company producing musicals in the region, some with far more resources, government grants and well-heeled donors — not to mention among the most adventurous in tackling what few others attempt.