Generally, when I dislike a play, I don’t review another production but, since I’m a fan of Redtwist’s work, I thought that they’d make Purple Heart stage worthy. But since the play is so weird, nothing can save it. My problems come mainly from the script that finds all of the characters devoid of empathy and the situation is fueled by repetitive dialogue with an under rehearsed feel.
Trap Door Theatre, under the creative drive of artistic director Beata Pilch, has developed a smooth style especially when mounting Eastern European works. She directs a game cast of players who nicely,even humorously 65 minute work by Czech writer/politician Vaclav Havel. His 1975 absurdest work, The Unveiling and his 2010 play, Dozens of Cousins, are seamlessly performed.
. I have seen several fine productions of Faith Healer, but Si Osborne, Lisa D. Mortensen and Brad Armacost set the standard for this densely difficult work. Don’t let this play, as Teddy would call it: “Fan-tast-ic” escape without experience it. The power of live theatre to weave a complex story is skillfully presented. Don’t miss this show!
Filled with fine English traditional folks Christmas songs, Cricket is a nostalgic trip to early Victorian Christmas family life. It is quaint and homespun and heartwarming. The cast is game and dedicated
Oliver! is Lionel Bart’s 1963 masterpiece adaptation of Dickens stinging attack on child abuse, urban decay and indifferent social institutions. Bart takes a lighter treatment than Dickens yet the cruelty come through
So, I guess I’m telling you that most theatre patrons will like, even admire The Book of Mormon, therefore, don’t be left out. It is a show that must be seen to either enjoy it or to conclude that it is the most disappointing, over hyped show in years. So see it and judge for yourself. I’m glad I saw the show. No serious theatre patron can avoid experiencing such a popular show.
The look, the movement, and the personality of Joey (and others) marvelously came to life. Since theatre is about the audience’s use of imagination, these puppets easily came to life on stage. We love Joey and we cheer for him throughout.
“The Twelve Days of Christmas” is a rhythmic tap rendition of the first order. “The Nutcraker” is deliciously performed by the ballet-infused dancers while the New York at Christmas features the Rockettes in a double-decker bus in front of that large video pictorial of Manhattan.
Director and narrator/player Hans Fleischmann (Tom) is a homeless hobo living in an alley (glass infested set designed by Grant Sabin). He is dressed in dirty ragged clothes and he sports a full beard – he is reliving memories from his life with his mother and sister in 1937 St.Louis. This is an intriguing concept that I’ve never seen before in any production of Williams’ greatest play – The Glass Menagerie. This concept speaks much about what happened to Tom after he left St. Louis for adventure.
Playwright David Ives sure knows how to take the 17th Century classic French farce, The Misanthrope, and bring it up to date from 1666 to modern times by using a mixture of rhyming couplets. Ives blends Moliere’s wordy comedy of manners style with contemporary colloquialisms with casual vulgarity and scatological humor that could offend some. Yet, the zaniness of the classic characters together with the witty couplets played for extreme comic effect, makes for a belly laughing theatrical feast.