Tag Archives: Gabriell Salgado
By Oline H. Cogdill A sandwich is more than ingredients between two slices of bread at Clyde’s, the truck stop diner that is the setting and title of Lynn Nottage’s deliciously insightful play now receiving a superb production at Zoetic …
The past, the present and the future intertwine in a magical dance seasoned with love and guilt in GableStage’s outstanding El huracán as three generations of women wrestle with loss and forgiveness that crosses nine decades.
Miami New Drama’s triumphant 20-year-anniversary production of Nilo Cruz’s Pulitzer-winning Anna in the Tropics., directed by Cruz, enables us to see ourselves and all around us more clearly. It exposes truths and secrets we may not have been aware of and to varying degrees changes us;
The drama Anna in the Tropics, about a family of Cuban-American cigar makers in Ybor City near Tampa in 1929, has now turned 20, and Miami New Drama is presenting a production directed by its author Nilo Cruz.
Quite a come back year: World premieres, epic musicals, moving two-character dramas, you name it. Here’s not so much a “best of the year” list – no such list can be reliable or complete – but a random recognition of outstanding performances, productions, trends and just moments that theaterlovers will carry with them into 2023.
A tattoo of a sea serpent is playwright Lucas Hnath’s damning metaphor for the grip of ambition to the point that betrayal of anyone is an accepted expedient in the scathing Red Speedo from producer Ronnie Larsen at The Foundry. Using competitive sports as a milieu, Hnath depicts people willing to violate moral codes and personal loyalties in pursuit of the American Dream — as ingrained today as it was when Arthur Miller decried it in 1949.
Sometimes, the worthwhile reason to see Palm Beach Dramaworks’ mounting of 4000 Miles, the satisfying treat is watching the vibrating depiction by up-and-comer Gabriell Salgado of a deeply troubled young man and the brilliant portrait by Patricia Conolly of a 91-year-old grandmother staying vital and engaged while struggling with the debilitating effects of old age.
The soul-killing inherent in the film dream factory’s deconstruction and then sanitized reconstruction of its icons has been a popular topic, from 1932’s What Price Hollywood to four versions of A Star is Born. But Michael McKeever’s incisive world premiere The Code at The Foundry attacks it from a different fresh angle that is painfully topical.
The concepts of home and homeland—especially when they are no longer the same place— have become even more complicated in the 21st Century for Cuban-Americans highlighted in Hannah Benitez’ world premiere GringoLandia commissioned by Zoetic Stage, a gentle comedy woven with the struggles of a past that no longer exists.
If Dickens’ opening line in A Tale of Two Cities has become a trite cliché through overuse it has become a painfully accurate truism about theater over the past two years, especially South Florida theater. Crippling loss and inspiring resurrection. Surrender and perseverance. And , now, the Covid threat has reasserted. But looking back on those two years delivers a testament worth celebrating and learning from.