At the beginning of Gablestage’sThe Price, you can’t quite tell if the protagonist Victor (Gregg Weiner) is laughing or crying. He’s arrived in his father’s attic and put on a novelty “laugh record,” and hides his face as he shakes and vocalizes along.
Before I say anything about Old Tricks, the new play by Michael Bush now premiering at Empire Stage, the first thing I should probably note is that I was not quite a member of the target demographic. The play, which is marketed as a “gay comedy,” appeared to be succesfully attracting a plethora of older gay men, but I think I might’ve been the only woman in the whole theatre!
Politics is a nasty business. Its sinister entanglements are not confined to smoke-filled back rooms in hideaways scattered here and there within the Capital Beltway. They slink into the fancy steakhouses of Baltimore and the elaborate suburban New York abodes of upwardly mobile, would-be office seekers.
Playing at the Pembroke Pines Performing Arts Theater through November 7th, this production of Cabaret doesn’t reinvent the wheel, but rather aptly presents the wheel as it was once famously reinvented. Following the original highly controversial production in 1966, a memorable acclaimed 1980s revival of Cabaret added a few shocking staging conventions that have become the standard for most productions that followed.
What makes the difference between a monster and a man? This seems to be the primary question posed by Zoetic Stage’s production of Nick Dear’s Frankenstein, a thought-provoking adaptation of the classic novel that first premiered in 2011.
The Wick Theatre in Boca Raton kicks off its eighth season with the kicky, colorful, tune-filled romantic comedy, Mamma Mia! the musical blockbuster propelled with tunes by iconic Swedish rock group ABBA. The show that runs through Nov. 14 has truly earned the exclamation point in its title.
Ambitious might be an understatement to describe the breadth or enormity of what the Lake Worth Playhouse has undertaken in its first official show of its 2021-2022 season. That would be Peter and the Star Catcher, a zany play by Rick Elice that first hit Broadway in the early 2010s.
The last production the Main Street Players will offer in their current space before moving to a new location across the street later this year starts its provocations with its title. And Shakespeare is a White Supremacist, the new play by Andrew Watring that will be playing there through October 17th, definitely is taking them out on a high note.
Seeing as “mastodon undertaking” isn’t exactly common parlance, “mammoth undertaking” is probably the term I should use to describe the unique ambitions of Theatre Lab’s current production.
The morning before I arrived at the Miracle Theatre to see “¡Fuácata!or A Latina’s Guide to Surviving the Universe,” the funky one-woman show by Stuart Meltzer and Elena Maria Garcia that will be running there until this September 12th, I happened to be feeling very out of place.
