Pigs Do Fly Productions continues its sixth season with Helen On Wheels, a play by Cricket Daniels that first produced in 2014. The company’s unique mission is to show that over 50 can still live their lives in interesting, involved, and exciting ways and showcase performers over 50 in the process.

NOTE: Spoilers from here on out on this because I’m assuming most of you know the story!

It’s always interesting to look back on a favorite childhood fairy tale with an adult’s eyes. I got the chance this weekend at the Lauderhill Performing Arts Center, where Beauty in the Beast is running only until this March 8th.

A Funny Thing Happened on the Way To The Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York City is now playing until this March 1 at the Sol Children’s Theatre, courtesy of theatre company Primal Forces. The 2016 play by Halley Feiffer is not to be confused with A Funny Thing Happened On The Way To The Forum, the famous Sondheim musical the former work’s title is an exceedingly wordy riff.

The West Boca Theatre Company’s current production of My Name Is Asher Lev earns a unique and high compliment: of all the plays I’ve written about in the past 5ish months (my, how time flies), it’s the only one that I left actively inspired to create. 

Theatre Lab’s fifth season continues with The US premiere of The Glass Piano by Alix Sobler, which premiered last year at London’s Coronet Theatre—loosely based on the utterly fascinating case of the real Princess Alexandra of Bavaria. The Glass Piano explores the story of a princess who suffered from a delusion that she had swallowed a grand glass piano as a child and must maneuver delicately to avoid shattering it.

The Lake Worth Playhouse’s acclaimed Black Box series is back until this February 9th with a quietly stirring production of Fulfillment Center by Abe Koogler, which premiered off-Broadway 2017. The play’s title does double duty, serving as both a literal description of the corporate warehouse it revolves around and an ironic nod to a set of characters who seem incapable of fulfilling their own — or each other’s — emotional needs. The story aptly encapsulates the play’s two major themes: nigh-inescapable human dissatisfaction and the potential for capitalism to deepen that dissatisfaction.

Kinky Boots, playing until this February 8th at the Lauderhill Performing Arts Center courtesy of Prather Production’s Broadway in Broward series, is in many respects a fairly typical musical comedy: one in which a plucky underdog fights for a noble cause amidst an array of colorful characters.

Last night, I saw the Wick Theatre’s production of Evita, knowing more or less nothing about either the show or Argentinian history. After seeing Evita, I still don’t know much about what seems to be quite a complicated era, or even about the famously divisive figure the show centers on, infamous Argentinian first lady and “spiritual leader” Eva Peron. I have gathered from a little informal research that she’s an interesting enough “character” that, if left to my own devices, I could probably entertain myself reading about her for days.