Tag Archives: Ryan Didato
American Son at Zoetic Stage doesn’t offer solutions to the complexity of race so much as explore with increasing intensity the exact craggy contours of the gulf. Christopher Demos-Brown’s play brings the audience alongside those struggling with the conflicting and seemingly irreconcilable pressures on not just African-Americans but everyone awash in the social maelstrom.
Usually, Zoetic Stage’s director Stuart Meltzer’s deft work is almost invisible to audience members other than bringing a fresh vision to familiar titles. But his masterful work in The Curious Incident of the Dog in the Night-time is so clearly displayed that his reinvention becomes the “star” of the production.
White Guy on the Bus at GableStage is a merciless dissection of race relations in the 21st Century, but stunning plot twists prevent us from explaining much further than a wealthy white businessman strikes up an acquaintanceship with an African-American nursing student on a bus. But superb performances and a fierce script make this a don’t miss.
They are unlike any trials you have ever seen on Law & Order. Zoetic Stage’s world premiere of Christopher Demos-Brown’s Wrongful Death And Other Circus Acts is a hilarious but merciless satire on the civil legal profession by, indeed, setting the evening in and as a highly stylized circus.
The stage is a fungible place. Sets can transform, actors can fly, characters can break walls, especially the fourth. There is limitless potential in the blank canvas of floorboards and lighting, as Stuart Meltzer’s gently experimental The Goldberg Variations reminds us at Island City Stage.
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.
Actors Playhouse’s production of The Trial of Ebenezer Scrooge has a talented cast working hard under the direction of David Arisco, but good grief, what a waste of the resources of Mark Brown’s lame script. For one hours and forty minutes (including intermission), the audiences waits and waits for a single new riff in the Scrooge story, even a shred of logic explaining Brown’s basic premise.
Harvey Fierstein’s thought-provoking Casa Valentina play at GableStage explores is that sexuality as an infinitely varied stew of preferences, prejudices and other ingredients in varied measures
Sex, despite the title at GableStage, and despite the plot, is not what Cock is about. And guess what? It’s sexy. It’s very sexy. But this is a story about love, labels and the pressure society puts on persons to make decisions about both.
Avi Hoffman’s performance as a troubled writer, struggling to deal with success but escape his past, is one of the virtues in the promising but flawed inaugural offering from Parade Productions, a professional company performing in Mizner Park. There’s a lot of talent here working very hard, but not a lot of electricity emanating from the elegiac, mildly funny, mildly moving tale.