Tag Archives: Mallory Newbrough
Do not go to Actors’ Playhouse’s Murder on the Orient Express expecting the grim locked-room mystery at the heart of the films or the novel. This 2017 edition is penned by the playwright of Lend Me A Tenor. If you can wipe the tone of those earlier efforts from your mind, you will likely find yourself chuckling much of the night at these theater veterans turn the Christie classic into a cute, often quite funny two-hour comedy sketch.
Slow Burn Theatre Company’s Matilda is a lesson in theater education, showing how a regional director takes a successful Broadway show and road tour and makes it his own highly entertaining production that showcases many homegrown talents from South and Central Florida.
In the prologue of Maltz Jupiter Theatre’s production of Dracula: A Comedy of Terrors, the actors literally throw out the book—chucking their musty copies behind them with the satisfaction of college graduates tossing their caps. And besides, they add, they want to get us all out of here within 90 minutes—an admirable goal for many new plays and, in this case, a small mercy.
Slow Burn Theatre hembraces this glam/grunge rock musical headlined by a protagonist who suffered a botched sex-change operation. It’s an in-your-face raunchy celebration of alternative sexuality, a show that recognizes absolutely no bounds and revels in it.
Mere hours before the opening night of Equus at Palm Beach Dramaworks – a drama prompted by the true story of a troubled teen who blinded five horses – another troubled teen murdered 10 people in a nightmarish school shooting. But independent of that, its Equus stands among the most effective, perfectly executed productions that this company has wrought in its mission to deliver “theater to think about.”
Island City Stage’s highly entertaining production of the musical Zanna, Don’t! will never be confused with a show by Stephen Sondheim, though there are numerous references to the famed composer. Amid the numerous pop culture references, , and well-timed humor, Zanna, Don’t! slyly, yet forcefully, maintains that everyone has a right to love whom they want.
One pleasure of a theater critic’s job are these year-end retrospectives that require looking back at reviews and be reminded, “Oh, yeah, that was really great. And right, there was that. And how could I forget that one?”
When entering a theater playing a musical you’ve enjoyed numerous times, it’s comforting to open the playbill to find the names of proven talents that reassure that you and the material are in good hands. Names, for instance, like Mike Westrich, Bruce Linser, Mallory Newbrough, Paul Reekie and Jim Ballard – some of the dependable hands delivering a solid entertaining edition of the delightful Little Shop of Horrors from MNM Productions.
An Octoroon is the kind of art that defies a Siskel & Ebert thumbs up / thumbs down assessment. You can praise or fault elements of the script or a production, but Area Stage Company’s courageous effort reinforces An Octoroon’s overarching intent as a thought provocateur.
Branden Jacobs-Jenkins’ An Octoroon virtually defines the adjective “provocative.” No matter the quality of the production that the courageous Area Stage Company actually delivers next week, it is inarguably going to be unlike much, if anything, that audiences have seen on a South Florida stage.