Tag Archives: Theatre Lab
By Oline H. Cogdill Families are complicated, comprised of people who may have little in common but bloodlines, sometimes weighted down by secrets, lies, myths. Add to that mix a horrific event, so horrible it’s hard to wrap one’s mind …
Embracing the eloquence of imaginative theatricality, Theatre Lab’s Refuge depicts a deeply moving journey through the immigration crisis viewed not as a political issue, but a complex human one. It melds music, drama, humor, puppetry, and speeches in Spanish, resulting in a campfire story told through magical realism and mysticism.
In movies, “ordinary people” facing a dystopian challenge miraculously find courage and composure. We would be more like the extended family slowly coming unglued in Theatre Lab’s premiere of Last Night in Inwood as civilization disintegrates.
Quite a come back year: World premieres, epic musicals, moving two-character dramas, you name it. Here’s not so much a “best of the year” list – no such list can be reliable or complete – but a random recognition of outstanding performances, productions, trends and just moments that theaterlovers will carry with them into 2023.
In a time when so much theater and film seem dependent on sling-shots of unexpected left turns there’s a quiet life-affirming pleasure in a work that follows precisely the arc you expect from its familiar telegraphy. Such is the world premiere of E.M. Lewis’ Dorothy’s Dictionary at Theatre Lab – a warm and poignant celebration of words, books and bonds between people who love them
So Allison Gregory’s Red Riding Hood is a delightful hoot in which Theatre Lab has mounted a production meant to enrapture young theatergoers, but also liberally peppered with jokes, asides and other humor that only the adults will understand.
An array of artists and administrators who have helped build South Florida into a nationally-recognized regional theater hub will receive the Carbonell Awards’ highest honors this fall. Among the recipients: The prized George Abbott Award will go to Michael Tilson Thomas and Barbara and Lawrence R. Stein.
Buckle up if you’re attending the world premiere run of Overactive Letdown at Theatre Lab as a new mother spirals out of control in a harrowing descent into madness. Crumbling under the post-partum pressures of caring for an infant, aggravated by today’s tsunami of parenting dictates, our heroine Christine’s considerable intelligence, humor and charm evaporate.
The calendars in South Florida theater are being written in pencil—with erasers. Regional theaters are forging through the Covid spike with no panic and limited public fuss, but with a total lack of certainty of anything—cancelling performances, jettisoning titles, postponing productions a week, a month, a year; inserting swings; and calming ticket buyers by email.
If Dickens’ opening line in A Tale of Two Cities has become a trite cliché through overuse it has become a painfully accurate truism about theater over the past two years, especially South Florida theater. Crippling loss and inspiring resurrection. Surrender and perseverance. And , now, the Covid threat has reasserted. But looking back on those two years delivers a testament worth celebrating and learning from.