This show is a nonpareil example of how to mount a modern version of this classic art form. Sade and Spearen do it right – period. If you want to see how Commedia dell’arte can be translated to a modern audience, how vibrant the art from still is, five hundred years after its inception, this is the piece to see.
Tree – is a moving story of four souls searching for personal identity as shaped by their family ties. This is a haunting work with subtle power with a mysterious element that finds a couple of stubborn people struggling to either maintain the status quo or find our the how’s and why’s of their family (s) history.
Although Augustus Thomas may be unknown to contemporary theatre audiences, he was considered a “great” playwright in his time (1890’s – 1920’s). He used realism to tell regional American stories. The Copperhead made a stage star out of Lionel Barrymore and was Thomas’ most successful play….. Mark Pracht’s excellent performance as the low-key Milt Shanks leads a terrific ensemble in a rarely produced classic American drama.
The Mandrake necessitates our attention but the payoff is there in laughs as we appreciate the complex and theatrical comic timing of each character – with a few ad-libs and asides through-in. The comic elements come fast and loose utilizing wordplay, gestures and physicality in an over-the-top production that exudes hyper-energy from the entire cast
What makes this musical extravaganza so entertaining is the bouncy, melodious score by Harry Warren that contains rhythmic tap music, a cute waltz, toe-tapping jazzy tunes that explode into exuberant dances. “Go Into Your Dance,” “Dames” – Ziefeld Follies-styled together with the spectacular tap number “We’re In The Money” highlight act one. Charm, humor and a most likable cast of characters make us care about these struggling performers.
This over-produced glitzy, over-amplified show features a blend of pop-rock, hip-hop, R & B, and rap tunes with a few rock ballads thrown-in. The sound mixed that had the percussion dominate made the guitars inaudible and it forced the singers to scream to be heard. The lyrics became unintelligible for the most part. The choreography consisted of sexy groping and Nazi-styled stiff-legged marches.
…there is I Am Montana. In one of the most convoluted, unworkable and preposterous scripts this reviewer has encountered in years, I must report that I had to scratch my head in disbelief – how could any theatre company mount such rubbish? This slowly paced and poorly acted work stretches credulity.
with director Jessica Redish’s smart remounting of Stephen Sondheim’s Merrily We Roll Along. Don’t let any memories of past productions of Merrily stop you from enjoying this superb production. The stage craft, the excellent performances, and the marvelous chorus blended together to create a most engaging and heartfelt musical.
Utilizing Brian Sidney Bembridge’s large dollhouse set to depict a grand manor house surrounded by trees and loads of open space, El Nogalar live both in Cekhov’s world and Saracho’s world where class pressure and social turmoil threatens traditional families land and lifestyle in contemporary Mexico.
We see Anne Sheridan Smith move effectively from being Mae West – with her swagger, distinct voice and seductive walk and sexy talk to a cocky, brash and outspoken contemporary actress – Jo. Smith deftly changes persona. Smith sure has Mae West’s husky voice down pat and she presents West’s act aptly. Mae West surly lives in Anne Sheridan Smith’s convincing performance.