Tag Archives: Jordon Armstrong
Boca Stage’s Grand Horizons has A-list cast for an unusual mélange of considerable domestic comedy intersecting with serious themes about aging, dreams deferred and unrequited yearning.
Kim Ostrenko’s performance under the direction of Keith Garsson in Adam Rapp’s The Sound Inside at Boca Stage is simply one of the most outstanding we’ve seen in this banner year of excellent theater.
The comedy-drama Ben Butler was meant to explore race relations when it was first produced in 2014. But this tale about a runaway slave seeking refuge on the cusp of the Civil War has taken on an extra spin at Boca Stage in light of the spread of the Black Lives Matter movement in the past few years.
In 2016, the interactive gay wedding theatrical experience Diego & Drew Say I Do had a successful run at the Broward Center. Now it’s back for a second go ’round. It has grown up just a bit with a stronger cast and better comic timing throughout.
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.
Theatre Lab’s world premiere of Jennifer Lane’s Harlowe is indeed quiet, muted, dense. The titular heroine, who is coping with the emotional and literal scars from some horrific attack, can no longer feel anything, psychologically or physically. The writing, the direction and the acting all are commendable, but it’s a quirky sui generis piece that is hard to plug into emotionally.
All too apropos for our bitterly divided time, Outré Theatre Company’s intellectually stimulating production of Lucas Hnath’s The Christians asks what happens when two sincerely held but diametrically opposed viewpoints inescapably clash.
It’s almost paternalistic to praise New City Players as one of the gutsiest theaters in the region. But with its carefully-wrought and moving production of Constellations, the Players have outgrown the well-meant but limited expectations that arts patrons have of a so-called “fledgling theater.”
The world premiere The Radicalization of Rolfe at Island City Stage implies a truly intriguing nesting of premises: starting with how Rolfe, the sweet messenger boy romancing Liesl in The Sound of Music ends up with a swastika on his arm helping the Nazis hunt down the Von Trapps? But this gay-themed drama needs a lot more work on the script.
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.