Tag Archives: Leah Sessa
By Britin Haller The Wick Theatre & Museum Club’s 10th anniversary season is off to a rollicking start with Bye-Bye Birdie, a winner of four Tony Awards, including Best Musical, when it opened on Broadway in 1960. Set in …
The musical Disenchanted is a highly entertaining, hysterical, irreverent, clever, poignant, profane, with several bits of profanity, reimagining of what happened to these princesses, making its South Florida premiere at MNM Theatre Company at the Kravis Center.
The zingers in Boca Stage’s female version of The Odd Couple sound familiar but hardly stale like something left in Olive Madison’s refrigerator for who knows how long. Rather, you welcome the wisecracks as you would greet a dear old friend whom you haven’t seen in ages. Perhaps that is because we badly need laughter in a world in which bad news seems to surround us.
If only for the opportunity to enjoy Aaron Bower inhabiting a role she was born to play, we’d urge you to see the Wick Theatre’s revival of the updated Cole Porter musical Anything Goes. But the broader truth is that every aspect of this tuneful, witty musical gets as fine a production here as you can ask for.
That every hero and heroine in The 25th Annual Putnam County Spelling Bee is a misfit we secretly recognize from the bathroom mirror explains how this musical has thrived 17 years. Add to successful productions, MNM Theatre Company’s accumulation of youngsters trying to find their self-worth amid the high-pressure competition of the bee finals.
Despite being one of the greatest musicals of all time, Guys and Dolls always poses a difficult make-or-break challenge that determines if a production is mildly entertaining or sublime. So, MNM Theatre Company, which has given us some terrific evenings, delivers some fine individual moments here and there, but they never find that elusive groove.
There’s nothing especially wrong with Boca Stage’s The Unremarkable Death of Marilyn Monroe, certainly not with the admirably tireless, skillful efforts of Leah Sessa or Keith Garsson. But in the end, playwright Elton Townend Jones gives us nothing at all new – least of all fresh insight — in a predictable rehash of the legend or the truth behind the legend.