Tag Archives: Scott Douglas Wilson
If you like your theater schematic, clear-cut and requiring little cogitation, you will absolutely hate A Map of Virtue. But if you don’t mind wrestling with a production while it’s underway, if you enjoy trying to dope out what it meant on the ride home, then Thinking Cap’s production may well intrigue, perplex and unsettle you if you let it.
In Thinking Cap Theatre’s Waiting For Waiting For Godot, the absurdity of life is moved from the center stage spotlight of Samuel Beckett’s play in progress to the dingy dark wings where two understudies are waiting in vain to go on.
A naïve young woman from an isolated religious cult called the Squeamish (think Amish) finds herself in an oversized Mr. Peanut outfit on a highway giving the finger to honking motorists. Such daffy nonsense is indicative of the delightful satire in Thinking Cap Theatre’s The Book of Liz, a hoot by Amy and David Sedaris.
Sitting under a tent, sweating through the swelter, watching a faithful facsimile of a revival might not seem appealing to your everyday theatergoer. But bring an open mind to Thinking Cap Theatre’s play Church and savor a thought-provoking, exuberant even entertaining evening.
Jealousy, ego and unbridled schadenfreude that exist in any human being seem to be intensified among the rarefied spirits we call artists – at least that seems to be thrust of Mark Ravenhill’s droll little satire, Pool (No Water) enjoying a hoot of an outing thanks to Thinking Cap Theatre.
The tiny Thinking Cap Theatre, which built its reputation on experimental, provocative and socially-conscious work, plans to double its programming and staffing while retrofitting a new venue in Fort Lauderdale that can cater to twice the nightly audience.
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.
New Theatre’s production of Robert Caisley’s sardonically titled Happy is not an evening you “like” watching an “emotional terrorist” spend 80 minutes mercilessly carving away a nebbish’s illusion of well-being. But even with a flawed mounting of a script that still needs work, Happy is undeniably an intriguing examination of modern man burying true feelings under a socially-acceptable but life-denying veneer.
The bonds of friendship and the power of art to transform lives are illustrated in The Drawer Boy by Michael Healey, now receiving a lovely production at Thinking Cap Theatre in Fort Lauderdale.
Comedy. Tragedy. Absurdist farce. Subtle satire. Family drama. Sociological tract about race relations. Juan C. Sanchez’s world premiere Property Line at New Theatre encompasses all these and more in an intellectually intriguing, promising script that needs a lot of work before it will gel into a satisfying evening of theater.