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.”
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.”
If you’d told me a few weeks ago that one of the most exciting and innovative productions to hit South Florida so far this year would be a staging of Annie, I may have been a bit skeptical. While the classic 1977 musical has been widely beloved for its spunky main character and touching storyline, it isn’t exactly known for its iconoclasm.
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.
When we share stories of our cultures and those we have lost, it reminds the world of the struggles people have faced that have been swept under the rug throughout history.
In the wake of awards organizations such as the Golden Globes, the Academy Awards, and the Tonys all facing diminished ratings — not to mention suffering public relations nightmares such as a lack of diversity and inclusion in their nominations process — are the Carbonell Awards waning in significance?
Elijah Gee is a distinguished pianist, producer, and musical director who impeccably balances teaching music by day and performing live on weekends and evenings.
How do you do theatre when it’s next to impossible for people to gather safely? It’s a question that has vexed theatremakers worldwide as they’ve searched for ways to make ends meet and satisfy their urge to create despite the raging pandemic that has stifled stages worldwide.
To say that it’s been a challenging year for the theatre may be a rather profound understatement. But as we head into the 2021-2022 season, things are slowly making their way to something closer to normal, and South Florida theatre is gradually kicking back into gear.
Marcie Gorman knows a thing or three about overcoming adversity. Still, when the pandemic hit during preparations for MNM Theatre Company’s 2020 production of “Cabaret,” she admitted its effect left a devastating impact.
