Tag Archives: Nori Tecosky
Thinking Cap’s The Rover Is Ambitious, Smart & Delightful
There’s more to Thinking Cap Theatre’s inventive The Rover than staging a 300-year-old play with oomph enough to keep a 21st century audience interested. What director Nicole Stodard (who is also the artistic director of Thinking Cap Theatre) has done is to craft an inventive, ambitious and quite delicious offering of England’s first professional female playwright’s navel gazing study of the dating games people play. And watching Stodard’s adaptation of Aphra Behn’s The Rover proves that the battle of the sexes hasn’t changed much since 1677.
Outre Theatre’s First Show Is Challenging ‘The Wild Party’
Some troupes ease into existence with a modest, surefire and frugal first full production. Not Outré Theater Company. South Florida’s newest professional company bows Friday with Andrew Lippa’s The Wild Party. The 2000 off-Broadway cult hit combines a brilliant but edgy Jazz Age score with a jet black story of self-destructive hedonists in the 1920s who indulge in virtually every vice imaginable.
Thinking Cap’s Genderf**k Cabaret Is Uneven, Flawed But Flamboyant, Funny & Touching
Despite the raunchy discussion of every kind of sex, the flamboyantly omnisexual emcee, and, oh yes, the title – The All-American Genderf**k Cabaret – this irreverent satire from Thinking Cap Theatre sheathes a compassionate lament for the difficulty of forging meaningful relationships amid the sexual maelstrom of the 21st century
StageBill Blog: Here’s To Savoring The Joy Of Discovery
Audience members have few joys as pungent as discovery. Which brings us to the fledgling Outré Theatre Company and Tuesday night’s staged reading of the ink-black comic drama Dog Sees God: Confessions of a Teenage Blockhead at Empire Stage– and Outré’s reading in May of the chamber musical tick…tick…BOOM.
StageBill Blog: It’s Not All Darkness Out There
As the music swelled Monday at Outré Theatre Company’s concert production of tick…tick…BOOM!, a thought kept interfering with my becoming completely lost in Jonathan Larson’s chamber musical. There’s hope.