Tag Archives: Elizabeth Price
An unintended resonance echoes in Empire Stage’s production of Misery that Stephen King likely did not quite foresee. In a world where some people steadfastly, even violently believe whatever they want to believe, somewhere Annie Wilkes is shrugging and asking “What’s your point?”
How do human beings in extreme pain provide compassion and support for each other when such connections risk even more pain alongside the possibility of resurrection? The answer is depicted in Quiara Alegriá Hudes’ Water by the Spoonful, receiving a strong, ultimately moving production from New City Players.
For older audiences who see the number of expensive pills they take each morning magically multiply over the years, the wicked satire of Big Pharma in the otherwise romantic comedy Rx is welcomed at Boca Stage. But as cutting as Rx can be (one dotty scientist says “If I knew what we were doing, it wouldn’t be called research”) the Rx that playwright Kate Fodor prescribes for the modern malaise is, yes, love.
The protagonists’ primary fear in Lungs — bringing a child into an environmentally crumbling world and an economy in freefall – is secondary to the challenging script’s focus: examining the fragility and tensile strength of relationships – both given a solid production by New City Players.
Many artists define themselves by a calling that relies on faith that their art form will always be there. But in 2020, the foundation of their sense of who they were and what they believed made their lives worthwhile vanished. They were forced into introspection about the primacy of their profession and their art in their lives. Here, they reveal what they learned about South Florida theater and especially themselves.
Six months into the pandemic, theater artists are struggling with a profoundly damaging dimension particular to their purgatory-like limbo: The calling that gives their lives meaning requires interaction with other people in the same room. Late this summer, 33 South Florida storytellers agreed to draw back the curtain on their backstage battles that form the spine of an all too real three-act drama.
The Helen in Helen on Wheels is Helen Wheeler, a spirited, allegedly 70-something widow who speaks her mind and challenges anyone who crosses her as she continues to mourn her husband. But Helen on Wheels, from Pigs Do Fly Productions is more than an amusing story about a feisty widow. It also looks at the devastation of losing a loved one, of moving on with your life and keeping your independence.
Writing a review of Primal Force’s Villainous Company, which has more plot twists than a Christmas corkscrew, is going to be hard because we wouldn’t dare to give away any spoilers. Suffice it to say that nothing but nothing is what it seems and no one but no one is whom they seem – and there are layers under layers in this 80-minute chamber crime thriller.
Underneath, Falling is not just about a family dealing with the complex challenge of living with an autistic adult. New City Player’s profoundly moving production seems to be as much about the scores of well-practiced routines, accommodations and coping mechanisms that make any loving relationship possible long-term.
Thinking Cap Theatre’s Crooked superbly captures the fear, confusion and pain of being an adolescent – and the same fear, confusion and pain struggling to raise one. With vibrant performances expertly directed, its an absorbing, moving and shattering journey that touches on religion, sexual awakening, and especially the prickly but prevailing mother-daughter relationship.