Tag Archives: Wayne LeGette
Many artists define themselves by a calling that relies on faith that their art form will always be there. But in 2020, the foundation of their sense of who they were and what they believed made their lives worthwhile vanished. They were forced into introspection about the primacy of their profession and their art in their lives. Here, they reveal what they learned about South Florida theater and especially themselves.
Six months into the pandemic, theater artists are struggling with a profoundly damaging dimension particular to their purgatory-like limbo: The calling that gives their lives meaning requires interaction with other people in the same room. Late this summer, 33 South Florida storytellers agreed to draw back the curtain on their backstage battles that form the spine of an all too real three-act drama.
In the prologue of Maltz Jupiter Theatre’s production of Dracula: A Comedy of Terrors, the actors literally throw out the book—chucking their musty copies behind them with the satisfaction of college graduates tossing their caps. And besides, they add, they want to get us all out of here within 90 minutes—an admirable goal for many new plays and, in this case, a small mercy.
In 2019, if you want some idea what the original production of Crazy For You was like, or what those Depression Era musicals were like, live and in the flesh, settle in for The Wick Theatre’s glorious revival.
Graced with a soaring pulsing score, leading actors with passionate voices and a wealth of evocative choreography, the Wick Theatre’s Brigadoon lands as one of the company’s most memorable achievements.
MNM’s production of Stephen Sondheim’s groundbreaking musical Company is intermittently lit with incandescent performances worth the price of admission by themselves, but the overall piece disappointingly lacks crispness, passion and, until the last 10 minutes, heart.
One quiet fear of frequent theatergoers is that some well-meaning troupe will bungle a piece they love and override precious memories with mediocrity. Well, breathe easier. The Wick Theatre’s rendition of Guys and Dolls, widely considered one of the best musical comedies ever written, is as buoyant and spirited a triumph as a fan could wish.
The intersection, overlap and conflict of love and sex – but above all how they affect relationships — form the basis of Theatre at Arts Garage’s uneven but intriguing entry appropriately entitled The Mystery of Love and Sex with an emphasis on the word Mystery.
The strength of the acclaimed 2006 play Froist/Nixon is that no one is depicted in pure white hats or black hats. That facet is brought out in the Maltz’s production better than in any earlier edition thanks to a complex multi-faceted creation by actor John Jellison under the impeccable direction of J. Barry Lewis.
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.