For the second time in just one year, a musical by Lin Manuel Miranda has provided me with the sole motivation to sign up for an entire streaming service. Last July, it was Hamilton and Disney Plus; this time, it was In The Heights and HBOMax.
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.”
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.
Even if you’re a seasoned theatergoer, you’ve probably never experienced anything quite like the Art Heist Experience.
What, exactly, makes a thing theatre? That straightforward question has turned on its head by the COVID-19 pandemic, which made the conventional theatrical experience all but impossible.
Though things are still pretty strange in theatreland, hope does seem to be on the horizon. Last week, I got my first dose of the Moderna vaccine.
In a way, I suppose it’s my sinful nature that saw me impulsively buying a ticket to the second of two opening night performances of Miami New Drama’s deliciously wicked Seven Deadly Sins at near to the last minute. There’s no denying I’m a glutton for theatre, and after a near-nine-month fast, I was positively ravenous.