An oft-cited attribute of live theater is its ability to transport audiences into the hearts, minds, and lived experiences of the actors. More than just opening a window into another place and time, when good actors fully embody their roles, they also viscerally invite us into their character’s very soul. At its highest altruistic level, theater can foster understanding and compassion for individuals who are different – whether culturally, socio-economically or, as in this case, biologically neurodivergent. 

The 1930s was a very special decade in theater history. It’s when Moss Hart & George S. Kaufman won the Pulitzer Prize for Drama for their Broadway comedy hit YOU CAN’T TAKE IT WITH YOU (adapted a year later into a Frank Capra film that won the Academy Award for Best Picture). In 1947, a group of theatrically minded volunteers first gathered at the Parish Hall of St. Paul’s Episcopal Church to launch what was then called “The Little Theater of Delray Beach.” With J. Stuart Warrington’s professional guidance, high standards were set from the onset and after years of fundraising, the Delray Beach Playhouse was built on Lake Ida to serve as a cultural hub and exceptional regional theater to this day. 

Sadly, Stephen Sondheim is no longer with us, but his body of work lives on. If anything, the prolific, groundbreaking American lyricist and composer – often credited with reinventing the 20th century musical – is enjoying a resurgence of interest since his death in 2021 at age 91. I was excited to see an excellent production of his early “flop” Merrily We Roll Along at Delray Beach Playhouse two years ago, mere months before the Broadway version won a Tony for Best Revival of a Musical. And swore if any more Sondheim came to our area (I was especially interested in his inaugural revue of Side by Side by Sondheim), I’d make it my business to attend.

If you missed the spectacular THE CHER SHOW on Broadway a few years back, or even the popular two-year national tour that followed, fret not. Because now you can see it all, complete with legendary Bob Mackie costumes (for which the new musical won a Tony) and original stage design, right in our hometown!

What happens when one decides to make a parody of a long-established and beloved mockumentary by turning it even further on its head into a full-blown musical comedy? If you’re the famously industrious writing team of Bob and Tobly McSmith (co-creators of 10 musical parodies of popular TV series in 15 years) and now featuring Assaf Gleizner music and orchestrations, what happens is you’ve got another major hit on your hands!

I was blown away by Conversa (part 1 of Joanna Castle Miller’s autobiographical trilogy) and couldn’t wait to see part 2, INFERNA, another Theatre Lab world premiere that’s now also the featured opener of Forida Atlantic University’s (FAU) Owl New Play Festival. Once again, I was struck by the playwright’s originality, performance talent (she also acts in both plays), and breakaway message for the masses who are complacent about our bible brainwashed, sexist, and brand-manipulated society. Also, don’t worry if you missed Part 1 (which Castle Miller occasionally references, in jest, as “my other play”). My theater partner only saw this one and can confirm its standalone power to entertain, enlighten … and end with an emotional kick in the gut!

Many of us recall watching John Waters’ groundbreaking 1988 hit film Hairspray at movie theaters, on TV, or in some other fashion. And everyone recognizes “Good Morning Baltimore,” the opening number that’s become part of America’s musical theater lexicon. But fewer people had seen the Broadway musical adaptation that went on to win eight Tony Awards, including Best Musical, in 2003. Shall I tell you now that there were Slow Burn Theatre Company patrons who’d attended the original Broadway show and/or various revivals and said Slow Burn’s was the best!!

Our local production and the takeaway message of five Tony Award-winning KIMBERLY AKIMBO (including Best Musical, Best Book of a Musical, and Best Original Score) – whose National Touring Company opened Tuesday for a very short run at Broward Center – are perfectly aligned. Namely: Life’s short. Make the most of every day while you can.

Who could predict when playwright Ted Malawer’s (co-writer of Emmy-nominated “Red, White & Royal Blue”) latest play was selected two years ago for Palm Beach Dramaworks’ new play reading festival run by Bruce Linser, the award-winning South Florida writer/actor/director would go on to direct the East Coast premiere (and only second staging) of EVERYTHING BEAUTIFUL HAPPENS AT NIGHT at Island City Stage (ICS). The ideal LGBTQ-friendly venue. But I’m so glad he did! 

From perfect weather to ideals of peace and justice, the mythical era of “Camelot” represents many of humanity’s highest and deepest aspirations. No wonder the perennially popular Lerner & Loewe musical (based on the legend of King Arthur in T.H. White’s 1958 novel, “The Once and Future King”) won four Tonys at its Broadway debut in 1960. The show followed book writer and lyricist Alan Jay Lerner and music composer Frederick Loewe’s earlier smash hit, “My Fair Lady.” It also featured superstars Richard Burton and Julie Andrews, as Arthur and Guenevere, and Robert Goulet’s first Broadway role, as Lancelot.