There’s a reason why some stories become timeless classics. They tend to feature truths about the human condition that resonate anew for each generation. Pulitzer-prize-winning author Larry McMurtry’s novel about an intense, difficult yet devoted mother-daughter relationship, marital troubles, and issues with lovers called TERMS OF ENDEARMENT, became a literary sensation in 1975. His highly emotional-yet-relatable story gained cinematic fame when the 1983 movie-version won five Academy Awards, including Best Adapted Screenplay by James L. Brooks. 

Nothing beats seeing a brand-new show by a brand-new theater company where you haven’t a clue (really) about what to expect and are completely blown away! I was instantly, and repeatedly, delighted and astonished during the entire 90-minute (no intermission) flashy space opera and lifestyle-parody show that’s out-of-this-world (literally and figuratively) creative, futuristic, and riotously funny while keeping satirically grounded in the inanities of contemporary life – especially the youth culture of Gen Z.

We’ve come a long way since wedding vows always featured an officiant pronouncing the ominous words: “Should anyone present know of any reason that this couple should not be joined in holy matrimony, speak now or forever hold your peace.”

That’s the traditional quote from the marriage liturgy section of The Book of Common Prayer, first published by the Church of England in 1549. Updated variations, which nevertheless always end with “speak now or forever hold your peace,” are rarely used in real life nowadays, but continue to be a popular comedic motif of film and TV. And perhaps, now, plays as well. At least in substance, if not in the specific use of the phrase.

If the title wasn’t enough to prepare you for the setting and subject matter of Bryna Turner’s At the Wedding, the set, costumes, and vibe of Island City Stage’s polished production will quickly clue you in. Having enjoyed a brief off-Broadway run in 2022 before emerging on the regional theatre circuit, this sweet-natured comedy here arrives as the closing show of the company’s all around excellent 13th season. And though this play may be far from the meatiest of the bunch, it does hit the spot as an easy-to-swallow summer trifle- or, to put it in on-theme terms, like a slice of cake served after a hearty meal. 

If the name “Trotsky” barely rings a bell, blame Stalin. Trotsky was a major player in Russia’s 1905 Revolution, 1917’s October Revolution, and on, a lifelong agitator for permanent, worldwide social revolution, Marxist political theorist, journalist and war correspondent. In his day, the Trotsky name was as recognized as Lenin’s. Leon Trotsky never stopped advocating for the working class … from prison, from exile, wherever he landed. He accumulated quite the extensive resume.

We can all use a little more Harvey Fierstein in our lives. The multi-Tony (and more) award-winning actor and playwright who many of us recognize from recent local productions of “La Cage Aux Folles,” “Kinky Boots,” and “Newsies,” and from his film work in everything from “Hairspray” and “Mrs. Doubtfire” to the Emmy Award-winning documentary, “The Times of Harvey Milk,” first made his name with “Torch Song Trilogy,” a three-act play that runs over four hours. Nonetheless, this underground hit about the life, loves, and woes of a Jewish drag queen living in New York City transferred to Broadway in 1982 where it achieved landmark status for the LGBTQ community by winning two Tony Awards – for Best Play and Best Actor – the latter also going to the playwright, who starred in the lead role. 

The imaginative mind of Area Stage Artistic Director Giancarlo Rodaz continues to thrill audiences as the stage captures the sights and sounds of an African jungle in the Area Stage production of the two-act musical “Tarzan: The Stage Musical”, running now through August 10 in South Miami.

As was the case with Rodaz’s company staging the musicals “Annie”, “Beauty and the Beast” “Oliver” and “The Little Mermaid”” over the years, the unforgettable memories audiences take away from Rodaz’s productions is the feeling you are part of the world of the stage setting, In “Tarzan The Stage Musical” you can feel and hear the jumping, thumping and aerial dynamics of the gorillas and Tarzan moving and leaping in so many scenes.

You can tell it’s the Age of Aquarius by the sounds currently emanating from Lake Worth Playhouse. With the “unofficial” opening of their 2025-2026 season, the community theater has decided to take down their buns and ponytails while picking up joints and tabs with Hair. A musical set in the times of burgeoning counterculture, the production embraces a different way of life; one more familiar with the arts and aesthetics, one desperately needed now.

In June, I reviewed FAU’s Festival Rep’s delightful production of Neil Simon’s rarely produced 1988 couples farce, Rumors. And now, in July, I have the privilege of reviewing Pembroke Pines Theatre of Performing Arts (PPTOPA)’s excellent presentation of Simon’s 1968 megahit, PLAZA SUITE, whose rather recent (2022) Broadway revival was enthusiastically received by both audiences and critics. That one starred real-life superstar couple Matthew Broderick and Sarah Jessica Parker. Of course, back in the day, many of us watched the 1971 film    headlined by Walter Matthau with Maureen Stapleton, Barbara Harris and Lee Grant. Though Simon served as screenwriter, he wasn’t all that happy with the results.