‘Tis the season for “scary.” But given the perennial popularity of “Rocky Horror,” nothing beats scary AND campy AND maybe a hefty helping of outrageous, gender-bending funny! Here’s a new one (to me) that’s developed quite the following in America’s regional theater circuit (including off-Broadway accolades), played London’s West End, and even brought down the house in Ramstein and Amsterdam. I was especially delighted to learn that DRACULA: A COMEDY OF TERRORS, now playing at Empire Stage, was an early, original commission by none other than our very own Maltz Jupiter Theater who’d contacted the zany comedy-writing team of Gordon Greenberg and Steve Rosen to script their company’s first world premiere.

For a season promising boldness, Miami City Ballet began in a familiar place. American Rhythms, which opened Friday, October 16, 2026, at Miami’s Adrienne Arsht Center, introduced Gonzalo Garcia’s first fully programmed season as artistic director with George Balanchine’s Allegro Brillante. There is a certain reassurance in beginning with a master. But reassurance was hardly what I had just been told to expect in Garcia’s opening speech. Balanchine is central to contemporary ballet’s identity. Its placement at the top of the program offers a statement of classical foundation upon which the evening’s other works can build. As an opening gesture, however, it felt safe.

You don’t have to be Cuban or even Latino to LOVE the music, the passion, the non-stop rhythms of love, hope, and desire that fire you up – heart and soul (not to mention shaking your body to the beats) – from the second you arrive at the BUENA VISTA SOCIAL CLUB. But you need to hurry, because this incredible musical tribute to classic Cuban music and dance is only playing at the Au-Rene Theater of Broward Center through October 18! 

If you were a gay man deemed “too gay” by fellow New York gays, where would you go from there? For the flaming and fabulous Mr. Charles, one of three main characters in Paul Rudnick’s The New Century, the answer was Palm Beach, where he has hilariously taken a position as host of a late-night cable talk show called “Too Gay.”

Actress Ella Olesen shines in the one person, one act dark satire WEATHER GIRL about a television meteorologist in Fresno, California who gives a day-by-day prognosis of unusual weather patterns in her city and state.

Playwright Brian Watkins created a satire rather than a serious drama on the perils of climate change by having “weather girl” Stacey Gross (Olesen) be both narrator and a victim of the events to be shared with the audience.

It really says something about the health of South Florida’s theater community – and the staying power of an award-winning local theater company – when they open their 15th season with a revival of their own world premiere of a decade past. Awarded “Best New Work of 2016” by Broward/Miami New Times, Michael Leeds’ WHO KILLED JOAN CRAWFORD? was Island City Stage‘s most popular show at the time. And now’s the perfect time for this killer comedy’s distinguished, highly active and multiple award-winning playwright and director Michael Leeds (also Island City’s associate artistic director) to direct a “revitalized” version of his delightful parody of classic murder mysteries that also raucously skewers show business in general. Once again, showcasing all the drama, intrigue, and hilarity exhibited by outrageous and outrageously gay characters, of course! 

Buena Vista Social Club makes me acutely aware of how we can communicate beyond words. As a music lover, I was transfixed by the cast performing at the Adrienne Arsht Center, their sense that melody carries life. The touring Broadway musical that played in Miami through October 4th, gives this production a particular resonance. Cuba is close enough to feel almost within reach, yet the distance between the island and this city has been complicated by generations of displacement. There is a regional romance in hearing this music here, where Cuba is woven into so many family histories.

We often don’t know how good we had it till that time has long passed. Those of us who came of age in the 1960s, despite the latter part of the decade’s Vietnam war protests and assassination horrors, can’t help but look back fondly at a time when we were young, passionate, and rebellious for equality. When we actually believed gathering and singing about border-free peace, love, and “Flower Power” could change the world.

For young women fighting for equal rights and pay, along with the freedom to choose a rewarding future not defined by marriage, the women’s liberation movement of the 1960s could be life changing. Maybe we all need to, as the Beatles’ song goes, “Get back to where you once belonged” and reclaim our better selves with more than fond nostalgia.

It never ceases to amaze me how the world turns from irrational prejudice and hate to a brief 1960’s “Summer of Love” and acceptance, and then suddenly we’re jolted back to being hounded by narrow-minded authoritarians. But at least, for now, we can still shout and make our voices heard. Ironically, many of today’s arguments for sexual identity acceptance were first given voice onstage by a gifted, empathetic Dutch female novelist and playwright who specialized in early 20th  century family dramas.