Few scripts have had more cultural influence than Henrik Ibsen’s A Doll’s House. First performed in 1879, the play incited much controversy when protagonist Nora challenged the period’s social norms by walking out on her husband and children after coming to the realization that her stifling marriage would never allow her to be her true self. And when she did, according to critic James Huneker, the door that she slammed behind her “reverberated across the roof of the world.”
Maybe you’d be hard-pressed to believe that a botched sex-change operation could be a winning premise for a feel-good night of musical theatre, but Hedwig and the Angry Inch proved a lot more fun and a lot more poignant than its vulgar title and peculiar subject matter might at first suggest. Playing until June 20th at the Lake Worth Playhouse, this unconventional musical by Stephen Trask and John Cameron Mitchell first premiered off-Broadway in 1998, and later spawned a 2001 film version and a Tony-winning Broadway revival.
Kelley Shanley, president and CEO of the Broward Center, made a remarkable admission of practicing what he called “unconscious bias” during a recent panel discussion at his venue, billed as “Arts For Action: Black Voices — Bridging the Gap.”
Written by: Playbill Staff