Tag Archives: Noah Levine
In the 21st Century, the adjective “merry” has fallen out of use except in conjunction with a holiday. But “merry” is precisely the right word to describe the brew of warmth and humor in New City Players’ smile of a production in It’s A Wonderful Life. While staged as a radio play, this production involves three-dimensional acting by five real-life performers who portray the 50 or so characters.
Eytan Deray’s courageous world premiere Educating Asher at Empire Stage – courageous not only because it has been drawn from the marrow of his being as playwright, but courageous because he also performs it, unreined and uninhibitedly without any self-serving censorship.
No one could accuse the cast of Shorts Gone Wild 6 of being low energy. They spend the production’s interstitial moments cartwheeling, performing splits, engaging in slapdash chicken dances, telling jokes, winking through bawdy double entendres. But most of the plays are less memorable than their spirited introductions.
Thinking Cap’s world premiere, Women In Assembly, is a satirical comedy credited to Aristophanes but transmuted into a bawdy irreverent satire about Greek women taking over government and reshaping it to their saner philosophies. It’s awash in inventive staging and the cast’s energy, but the riffs go on long after the underlying point is made.
Thinking Cap Theatre’s opening performance of Young Jean Lee’s Straight White Men might have been among the best nights of theater in South Florida so far this season. I say “might have been” because I can’t be sure. The evening was crippled by drunken thoughtless, self-centered, rude patrons who learned their audience etiquette from watching Jerry Springer reruns in their underwear at home.
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.
With Fireman Are Rarely Necessary, this world premiere of a socially satirical comedy falls solidly in the anarchic absurdist vibe with grunge icing championed by Mad Cat Theatre Company.
Mad Cat Theatre’s production of Vaclav Havel’s one acts Protest and Audience draw uncomfortably relevant visions of repressive totalitarian society.
The First Step (Diary of a Sex Addict), which makes the rounds of video porn parlors, urinals, gay baths and sessions of a self-help group, sounds like the premise for a Saturday Night Live skit. And Michael Leeds’ play at Island City Stage is, indeed, very funny. But woven into the outrageous humor is a compassionate in-depth examination of the emotional spiral wreaked by the tyranny of this specific disease/illness.
Like the requisite ballet’s presentation of The Nutcracker, theater troupes have been turning over their Decembers as of late to holiday-themed plays: David Sedaris’s Santaland Diaries comes to mind. Unlike the wholesome Nutcracker many modern Christmas offerings are aimed at an adult crowd, taking the Ho, Ho, Ho of the holiday to a more mature level.