Tag Archives: Rob Donohoe
GableStage’s co-production with Palm Beach Dramaworks of the world premiere of Ordinary Americans traces TV icon Gertrude Berg as she battles blacklisting, featuring stellar performance by Elizabeth Dimon.
The world premiere of Joseph McDonough’s Ordinary Americans needs more work but it has enough promise and fine performances at Palm Beach Dramaworks that it’s worth the effort. The story of indomitable broadcast icon Gertrude Berg fighting the plague of the blacklist in the 1950s carries a clear warning to audiences today.
The script and the production of Palm Beach Dramworks need some refining, but when it’s most in the pocket, the world premiere of Lyle Kessler’s House on Fire dances a delicate pas de deux between comedy and tragedy, tension and levity, verisimilitude and whimsy, operating in its own subgenre of magic realism aka screwball existentialism.
Maltz Jupiter Theatre’s An Inspector Calls focuses with laser intent on what the evolving socialist J.B. Priestley saw as its thematic marrow — all individuals have an inescapable responsibility for the well-being of every other human being, and that privileged classes seem obscenely inured to that duty.
Greed—that timeless vice that steamrolls over everything in its path—is as relevant today as it was in Lillian Hellman’s 1939 drama The Little Foxes, now receiving a sumptuous revival at Palm Beach Dramaworks.
Audiences can marvel at the artistry from actor Rob Donohoe and director Lynnette Barkley in Palm Beach Dramaworks’ production of Tru, but the one-man bio-play about Truman Capote never quite touches the heart or coalesces narratively.
Sitting at a table in Palm Beach Dramawork’s rehearsal hall, Rob Donohoe doesn’t look or sound a thing like Truman Capote. He’s taller, his hair is brown and full and his voice is a warm baritone. But he and director Lynette Barkley have been cataloguing the external public celebrity and the internal tortured soul in preparation for the one-man drama Tru opening Dec. 2.
These are not at all necessarily what we predict will be the best shows this season (although they may be) or the best attended or the most popular or the most award-winning. We don’t care. These are the shows we most want to see for a variety of reasons. The list is woefully incomplete, likely with major but unintentional omissions.
2015 produced a wild variety of snapshots to paste in the theatrical scrapbooks: a male Dolly Levi, a homicidal dimwit slicing carrots, a kidnapper forcing her captives to learn nonsense, a tsunami engulfing a Japanese village, a green-gunked survivor of toxic sludge singing love songs to his blind librarian girlfriend. You know, just another year for regional theater in South Florida.
Nearly everyone in the Palm Beach Dramaworks’ superb production of The History Boys is in love with unleashing flash floods of verbiage in an orgy of ideas illustrated by their addiction to quoting a pantheon encompassing W.H. Auden and Frederick Nietzsche in rapid fire banter