In a way, the fact that “The Belle Of Amherst” is even being performed in its full glory is a triumph to be celebrated, a welcome indication of live theatre’s return after a long intermission in which an earlier incarnation of this production was relegated to streaming. And there’s certainly much to enjoy in Palm Beach Dramaworks’ in-person rendering of this one-woman show by William Luce, which stars accomplished area actress Margery Lowe as acclaimed poet Emily Dickinson.
When thinking about what might make for a rousing night of comedy, “murder” may not exactly be at the top of your list. But while Actors’ Playhouse’s production of Ken Ludwig’s adaptation of Murder On The Orient Express maintains enough of the suspensefulness of the Agatha Christie original to make for a compelling evening, it also makes for a surprising amount of good plain fun.
The biographical jukebox musical, which tell the life story of a famous musical artist or group using their well-known songs as a score, has become a relatively popular mini-genre in recent years. However, it isn’t actually one that I have terribly much experience with, since the aura of conventionality surrounding these shows isn’t typically one that attracts me. In fact, prior to getting invited to Summer: The Donna Summer Musical, which is currently playing at the Kravis Center after its initial winter run was delayed due to the Omicron outbreak, I probably wouldn’t have even recognized the name Donna Summer, despite her status as an incredibly influential artist whose hits landed her the moniker “disco queen.”
The characters in Pearl Cleage’s “Blues for an Alabama Sky” are caught somewhere between the creative, hopeful heaven of the Harlem Renaissance and the hellish economic collapse of the Great Depression.
By turns humorous and harrowing, Our Dear Dead Drug Lord is a relatively new play by Alexis Scheer currently making its South Florida premiere at Zoetic Stage—and it’s a play that its audiences are pretty damn unlikely to forget. It’s also a play that somewhat recalls Zoetic’s 2019 offering The Wolves in its sometimes overlapping mile-a-minute-dialogue and its focus on the sometimes messy reality of teenage girlhood.
Though it’s a question of aesthetics that sets off the action in the play Art by Yazmin Reza, Empire Stage’s current offering, the debate between friends that then ensues seems to have less to do with the meaning of art than with the absurdities of human ego. When dermatologist Serge buys what appears to be a completely white painting (though, as is repeatedly discussed to great comedic effect, it apparently also features some “fine white diagonal lines,”) his best friend Marc simply cannot make sense of how this action is in accord with the person he thought he knew.
Is there a difference between an officer and a gentleman? To some degree, at least, that’s a question posed by the musical An Officer And A Gentleman, which is based on a well-known 1982 film that I actually wasn’t familiar with before receiving an invite to the musical update currently on view at the Kravis Center.
The jukebox musical, Breaking Up is Hard to Do, now playing at the Wick Theatre in Boca Raton, offers the audience a double shot of nostalgia. Not only does it feature 18 terrific tunes written and/or sung by Juilliard-trained ‘50s and ‘60s rock star Neil Sedaka, but it also revisits the era of Catskills comedy with a couple of romantic love stories that blossom at Esther’s Paradise, a Borscht Belt hostelry about to wrap up its summer of fun with a tune-filled Labor Day spectacle.
In the years before the COVID pandemic, it wasn’t out of the ordinary for drama students at Florida Atlantic University to conclude their theatrical seasons with the production of a Shakespearean work.
