Tag Archives: Island City Stage
The strength and vulnerability of non-sexual but emotionally intimate friendships are not focuses in 20th Century theater. But in works written by a new generation of playwrights, these relationships are increasingly in the spotlight. Such is I Wanna Fucking Tear You Apart, a dive into the deterioration of the bond of two would-be writers.
Jon Brittain’s prescient, abundantly insightful play Rotterdam at Island City Stage, captures the messy, shattering fallout from gender fluidity for the transgender person as well as their friends, families and lovers.
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.
More current than the classic AIDS plays written three decades ago, Donja R. Love’s ‘one in two’ examines the challenges of with HIV-positive when talk shows have ads for pills that make the virus “undetectable” and restore the freedom to have casual sex or make love.
Andy Rogow is the director of Island City Stage’s The Mystery of Irma Vep, but were he a less humble man, he might also take the title of chief illusionist or conjurer. For the production is nothing if not a magic show, a self-aware cornucopia of tricks from a creakier, more analog time of stage wizardry.
Tennessee Williams’ Suddenly Last Summer presents a considerable challenge for theaters to pull off with its quirky characters, its quirkier premise and its total abandonment of theatricalized naturalism in favor of unabashed symbolism. Island City Stage should be commended for the courage to tackle this work at all and considerable praise for wrestling it to an acceptable draw.
A sea of unmasked faces at FGO’s opening Saturday signaled South Florida theaters on the cusp of relaxing restrictions, some only for certain productions and some cautiously gingerly peering ahead to determine what to do.
The calendars in South Florida theater are being written in pencil—with erasers. Regional theaters are forging through the Covid spike with no panic and limited public fuss, but with a total lack of certainty of anything—cancelling performances, jettisoning titles, postponing productions a week, a month, a year; inserting swings; and calming ticket buyers by email.
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.
The Twentieth Century Way creates intersecting, overlapping realities in Island City Stage’s celebration of its 10th season by restaging its 2012 inaugural play. This thought-provoker melds questions about people acknowledging their true identity, amalgamating actors in general hiding behind their roles, and gay men hiding their sexuality from a homophobic society and themselves.