Recent Theater Reviews
Posted on 26. Aug, 2010 by Howard Salus in Entertainment, Ron Levitt, The Arts Reviews
By Ron Levitt
ENV Magazine/Florida Media News
MACK AND MABEL AT BROWARD STAGE DOOR: A WONDERFUL RERUN OF TOPNOTCH MUSICAL
Jerry Herman – despite his smash successes with La Cage, Hello Dolly, Mame and other Broadway hits – has been quoted many times a saying that Mack and Mabel is the personal favorite of all the shows he has created. When you go to Broward Stage Door to see the latest version of the Tony-nominated musical, you will understand why.
This is one classy, fun, music-filled, inspired production – one that we have come to expect from Broward Stage Door after its recent successes of A Little Night’s Music and The Drowsey Chaperone.
What makes this particular version of Mack and Mable so enjoyable are the sometimes-subtle, many times-original approaches that Director Michael Leeds has given to this musical which first opened on Broadway in 1974. Leeds (Tony nomination for “Swingin’ on A Star”) was a performer in the first National Tour with Bernadette Peters, and has a special affinity for this show. According to the promotional material for this production, Leeds was able to convince Herman to give him some leeway on new approaches and changes to for this production. “I didn’t get everything I wanted”, says Leeds, “but he was kind enough to give me a lot, including the ending that was eventually used on the tour, but not on Broadway.”
Mack and Mabel – which is reminiscent of what old-time Broadway musicals were all about (interesting story, great score, huge performances) comes right out of the silent movie era and the rising glamour of 1920s Hollywood. This classic show tells of the heart-wrenching love story of two of its greatest legends – director Mack Sennett (creator of the legendary Keystone Kops) and his star, Mabel Normand.
When deli-delivery girl Mabel (played by New York actress Mara Gabrielle ) appears on the set of film-maker Sennett (Shane R. Tanner ) , she catches his eye and in time captures his heart. Before long she brings a special quality to the “two-reelers “of the silent era as his star comedienne. However ambition, rivalry and the impending threat of “talkies” make for a tempestuous relationship. Her partying ways and use of drugs eventually leads to scandal, even though the two of them cannot forget the love they have for one another.
There are a number of reasons for theatre aficionados to rush to see this version of Mack and Mable.
1. It has one of the best scores one will find in a revived musical. It’s much more than the familiar “I Won’t Send Roses” or the sensitive “Time Heals Everything.” Such meaningful lyrics and music as “Look What Happened to Mabel” will be with you long after you leave the theatre. Suffice it to say, this score is as good as it gets in this wild Show Biz world.
2. Shane R. Tanner — who has appeared in dozens of South Florida musical productions is terrific as Mack, His deep baritone voice and stage presence is what makes for musical awards. He has been understandably a multiple Carbonell nominee. And, it t would shock if he doesn’t repeat this awards season.
3. It is tough for any musical actress to play the same role as the magical Bernadette Peters and- risk comparison. But, Mara Gabrielle – as Mabel – sings beautifully and shimmers in the wardrobe provided by Marilyn Wick/Costume World
4. The rest of the cast is admirable. Ken Clement is the perfect Fatty Arbuckle ( who else in South Florida could ever fill this role?) and Kelly Cusimano does quite well as the important sidekick – Lottie. When Cusimano belts and hoofs “Tap Your Troubles Away” with six gorgeous (if horribly “wigged” ) blondes, it is a show-stopper—one of the few moments you will see audience members stand up and cheer (…and that’s also because of the brilliant choreography by Chrissi Ardito).
5. We don’t usually mention an entire ensemble but with this upscale production creating such enjoyment, credit must also go to the rest of the cast – Bob Levitt, Jeffrey Funaro, Stacie Johnson, an d those wonderful ful people named in the Program: Christopher Violett, Alishia Suitor, Joey ZangardI, Ron Tal, Kelly Skidmore, Maureen Kelley, Casey Shea, Lauren Kaye Cluette, Al Gable, and Michael Joseph.
Show times are Wed, Thurs, Sat, and Sun at 2PM; Thurs, Fri, Sat at 8PM, and Sunday at 7PM. For tickets and information: 954-344-7765. The Stage Door Theatre, 8036 W. Sample Rd, Coral Springs, Fl 33065.
Jerry Herman is entitled to his selection of Mack and Mabel as his personal favorite. My jury is still out of that one, but certainly this production has every ingredient which makes for a hit!
ACTORS HAM IT UP IN PROMETHEAN FUN-FEST
If you happen to remember the sense of humor you had in college or as a young adult , -you know how much fun movie spoofs – particularly those involving B-horror flicks – can be. Well, look no further. Just head to the Promethean Theatre on the campus of Nova Southeastern University and join the younger set in a fun-time as a cast of talented 20-somethings get stupid, silly and sometimes sensational in Evil Dead: The Musical.
This quite original musical is based on Sam Rami’s trio of horror films. The franchise includes Evil Dead, Evil Dead 2 and Army of Darkness – but composer / author George Reinblat and composer Frank Cipolla take it a step further – with blood (actually a chocolate derivative) promised so that those in the first couple of rows – “the splatter zone” – are provided with ponchos . (if this seems reminiscent of Promethean’s musical hit – Cannibal – last season, it is meant to be!!)
It’s all about five college kids on spring break who visit a cabin the woods and turn into demons – much like the cult movies. There are plenty of vivid (f not memorable) songs – many of which contain four-letter words – and as much blood and gore, demons and devils, zombies and “living” vegetation as one would expect in a horror presentation. And, there’s enough severed limbs, demons telling bad jokes and putrid puns, chain saw and other weapons ready to massacre the cast – all a part of craziness set to music.
Evil Dead is just for fun – a rare moment in the theatre when you are not asked to think…not required to make judgments….just enjoy the silliness!! Promethean producer/founder, Deborah Sherman, gives advance warning that this is gory – yet ridiculous and hilarious – as she passes out the ponchos to those who might get “splattered.” If the opening night audience is an indicator, this will be a successful run.
Director Margaret Ledford has the assist of a number of technical gurus in bringing this musical funfest to South Florida ( Similar productions of this off-Broadway hit are currently playing in 21 other cities and there have been another 40 productions in addition to its New York run.) Ledford team includes lmusic director Phil Hinton, choreographer Chrissy Ardito, scenic designer Dan Gelbmann, Patrick Tennent handling lighting, Ellis Tillman in charge of costuming, Matt Corey helming Sound, and Taso Stavrakis choreographing the fight scenes and “blood” splattering and let’s not forget Tyler Smith whose prosthetic props – including a severed hand which has a mind of its own– adds to the mayhem,
Matthew William Chizever – for the past two years a Carbonell nominee as best actor in a musical (Cannibal and La Cage) – uses his strong voice and adroit movements to dominate the off the wall comedy. Chizever is star quality in his performance and his “duet” – What the F—Was That? — with Troy Davidson is a show-stopper. Lovely Lindsey Forgey (playing two important roles) , Jaime Kautzman, Jamie Mattocks, an impressive Kaitlyn O’Neill also make up the youthful but capable cast, along with two of the funniest performances and musical moments with relative newcomers to the stage David Dearstyne (as nerdy Ed) and Noah Levine (as hillbilly Jake).
.Evil Dead runs through September 12 at Nova’s Black Box Theatre (3301 College Avenue)> Call toll free 866-811-4111 for tickets (only 80 seats available per performance ) or purchase online at www.prometheantheatre.org
Whenever, you go, be prepared for a bunch of actors hamming it up. It was written that way and the actors do it justice on purpose!!!!
ONLINE RESEARCH HELPS VISUALIZE
CALDWELL’S “THE COMFORT OF DARKNESS”
Because of the world premiere of The Comfort of Darkness, now at the Caldwell Theatre, I was intrigued to learn about the real life people whose characters are portrayed by playwright Joel Gross. So, off I went to the Internet to discover back some 250 years ago, the real people in this play actually lived and loved.
I would be remiss if I didn’t admit that my online research made more of an impression that did this over-long two act (multi scene) production, despite its creative direction by Clive Cholerton, amazing costuming by Alberto Arroyo and a set by the always reliable Tim Bennett.
My initial response to the play was that it had two elements which should give it special appeal to women in the audience, First, it was a love story and its medical element was certainly interesting – sort of a theatrical “chick flick.” How chauvinistic can one be? I was wrong! All I heard after the show ended was, “it was too long.” We wondered if this could have played better as a one-act, 90 minute show?
Basically, the playwright had a great idea – two historic figures who learn over and over that love is blind. But, when the research becomes more pleasurable than the play, something is amiss!
It’s about Franz Anton Mesmer (1734-1815), a German physician who invented “magnetise” – the forerunner of hypnosis (yes, the word MESMORIZE” is an outgrowth of his name). Dr Mesmer is played by New York actor Stevie Ray Dallimore, one of the bright spots in this production. Dr, Mesmer is enchanted by and has a scandalous affair with his patient Maria Theresa von Paradis= (Jessalyn Maguire), a prominent harpsichordist who was blind since childhood, The doctor treats her with his ‘Magnetise” and her condition temporarily improves, but her blindness comes back for good as their romance ends. Bystanders – but very much involved – are a former patient with her own eyes on the doctor (Jane Cortney) and Dr. von Stoerk, (an excellent performance by Kenneth Kay), as Dr. Mesmer’s at-first unbelieving friend who finally sees that his “cure” may possibly work.
Author Gross apparently has a passion for taking real personalities and bringing them to life on stage. His earlier Marie Antoinette: The Color of Flesh–also about love and friendship – was at Caldwell two years ago – another play whose costumes and set dominated the run. He is reported to be currently working on a musical about John Dillinger.
Director Cholerton – one of South Florida’s most capable artistic leaders – brought in this cast – all professionals – from New York City. With the economy in such a mess and arts/ theatre funding so critical, it induced the question as to why he couldn‘t have used local talent. After all, South Florida is filled with capable actors!
The show runs through Sept. 5. Call 561 241-7432.
EARTHY BLUES NUMBERS KICK OFF FLORIDA STAGE AT ITS NEW HOME
It’s all about the music; some 90 minutes of it, by the way, a non-stop revue of heartfelt, often earthy, renditions of blues, powerfully and perfectly executed by four performers who have the audience in their hands. That’s what is happening at Rinker Stage of the Kravis Center where the veteran company Florida Stage has taken up its new residency.
It’s called Low Down Dirty Blues – and it turns the three-sided seating into a South-side Chicago night club long after the patrons have gone home and four entertainers sing some 22 numbers filled with double entendre messages and suggestive, sexy topics. They are singing for their own enjoyment – much to the delight of the Florida Stage audience.
You really don’t need a story-line in such a setting. – and you don’t get one. But, no one seems to care. The music is so satisfying and – at times – inspiring, it’s sufficient to be entertained – especially by this extra-ordinary four-some.
Sandra Reeves-Phillips is the one who owns the Windy City night club featuring blues singers and she is a big-voiced lady, who gets the after-hour vocalizing in high gear with some thigh-slapping movements as she belts “They Call Me Big Momma.” She is followed by Mississippi Charles Bevel as a guitar-strumming, soft-singing entertainer who becomes a philosophical wonder as he sings “The Grapes of Wrath” and Gregory Porter – a huge man with lungs to match his body — who dominates the stage when he is singing, especially a number called “Change Is Gonna Come.”
But, the one performer who will be with you long after you leave the Rinker theatre is Felicia P. Fields, who rightfully earned a Tony nomination for her turn in The Color Purple on Broadway. A huge woman with a mountain of talent Fields enthralls as she delivers the erotic “My Stove’s In Good Condition” and the memorable “I’m Not That Kind of Girl.” She also interacts with a male in the audience (the audience member I saw was in his 90s and had been married 68 years) and Fields had the audience and the gentleman in near-hysteria. She is a terrific entertainer who knows how to push the audience’s button! She could have done a one-woman show and have had its audience eating out of her hands. She is a wonder!
And, when all four get together – such as in ”Nobody’s Fault But My Own,” it is pure joy.
This sizzling and sassy show is the creation of Tony-nominated co-creators Randal Myler and Dan Wheetman (who received the nomination for It Ain’t Nothing But the Blues). Myler directs this show and Wheetman is the music director. Jack Magaw’s realistic set, comes complete with some tables for the audience, making the night club set totally realistic. The backdrop of Chicago signage sets the scene.
This show runs through September 5. Call 561-585-3433 for tickets.
Current Theatre Reviews
Posted on 15. Aug, 2010 by Howard Salus in Entertainment, The Arts Reviews
By Ron Levitt – ENV Magazine/Florida Media News
ADLER – ALONG WITH STARS WEINER AND SCHMIDT: A TRIO WITH DRAMATIC IMPACT AT GABLESTAGE
CORAL GABLES, FL– Every so often one goes to theatre and sees outstanding direction, a stylish set, excellence in lighting – topped by two actors who can only be described as award-worthy and absolutely stirring in their dramatic impact.
If it is not obvious from the above statement that “I really am a fan of Michael Weller’s Fifty Words,” currently playing at GableStage at the Biltmore, let me make it perfectly clear, “this is one helluva production.” It should not be missed!
Now, let’s get down to the nitty-gritty of this production! Basically, I should begin –” How do I love thee? Let me count the brutality, hostility and violence! “ Because, in summing up, that’s what this inspired production is all about – a complicated look at marriage or any relationship where there is a thin line between love and hate, respect and resentment , loneliness and acceptance, and sex and violence.
That’s a lot to expect from a 90 minute, intermission-less play, but thanks to Creative Chief Joseph Adler – who earns Carbonells for theatrical excellence like a philatelist collects rare stamps – obviously has utilized all he knows about timing, dramatic force, and real conversations.
Adler’s expertise seems to have infused itself into all aspects of this production –most notably in his selection of Gregg Weiner and Erin Joy Schmidt as Adam and Jan, the married couple who shock what seems like the perfect, successful marriage into an entanglement bent on destruction. The perfect middle-class home set by Lyle Baskin, the work of lighting guru Jeff Quinn, sound work of Matt Corey, normal attire by Ellis Tillman, all have the Adler imprint for excellence, And, let’s give a nod to those usually forgotten when we clap our hands in approval — veteran Stage Manager Kristen Pieski and prop mistress Beth Fath whose attention to detail makes this set seem like the living space of our next door neighbors. It is so realistic, one can actually taste the champagne the actors are drinking (or is that just a “wish.”? )
Basically, Adam and Jan – a middle-class architect and his wife, a former dancer who gave up her career to be wed – are spending their first night alone in seven years (their young son is having his first sleepover at a friend’s house some 45 minutes away).One would think a dozen or so hours of childlessness would be just the thing to renew a spark in a marriage. But this is no soap opera rendition with a happy-time-had-by-all. Instead, a complicated series of verbal assaults and fierce pronouncements and confessions lead to unexpected twists. There’s even some flung glasses and injuries , possibly symbolizing that love can hurt at times.
Author Weller’s dialogue is biting, at-times stinging; yet he allows his characters moments of humor amid the search for sex and love. To tell more would be unfair to the potential audience. Just have your moment and enjoy being a voyeur as you meet a married couple who openly discuss their most intimate relationship.
As for the title, don’t be misled. The show’s title comes from the wife’s suggestion that there are all kinds of love – 50 –the way Eskimos have so many different words for ‘snow.”
But, this production is more than “cool.” It’s a profound, adult play which brings to fruition the final moments of GableStage’s 12th season. Fifty Words runs through Sept. 12. Call 305 -445-1119.
ONLINE RESEARCH HELPS VISUALIZE CALDWELL’S “THE COMFORT OF DARKNESS”
BOCA RATON, FL – Because of the world premiere of The Comfort of Darkness, now at the Caldwell Theatre, I was intrigued to learn about the real life people whose characters are portrayed by playwright Joel Gross. So, off I went to the Internet to discover back some 250 years ago, the real people in this play actually lived and loved.
I would be remiss if I didn’t admit that my online research made more of an impression that did this over-long two act (multi scene) production, despite its creative direction by Clive Cholerton, amazing costuming by Alberto Arroyo and a set by the always reliable Tim Bennett.
My initial response to the play was that it had two elements which should give it special appeal to women in the audience, First, it was a love story and its medical element was certainly interesting – sort of a theatrical “chick flick.” How chauvinistic can one be? I was wrong! All I heard after the show ended was, “it was too long.” We wondered if this could have played better as a one-act, 90 minute show?
Basically, the playwright had a great idea – two historic figures who learn over and over that love is blind. But, when the research becomes more pleasurable than the play, something is amiss!
It’s about Franz Anton Mesmer (1734-1815), a German physician who invented “magnetise” – the forerunner of hypnosis (yes, the word MESMORIZE” is an outgrowth of his name). Dr Mesmer is played by New York actor Stevie Ray Dallimore, one of the bright spots in this production. Dr, Mesmer is enchanted by and has a scandalous affair with his patient Maria Theresa von Paradis= (Jessalyn Maguire), a prominent harpsichordist who was blind since childhood, The doctor treats her with his ‘Magnetise” and her condition temporarily improves, but her blindness comes back for good as their romance ends. Bystanders – but very much involved – are a former patient with her own eyes on the doctor (Jane Cortney) and Dr. von Stoerk, (an excellent performance by Kenneth Kay), as Dr. Mesmer’s at-first unbelieving friend who finally sees that his “cure” may possibly work.
Author Gross apparently has a passion for taking real personalities and bringing them to life on stage. His earlier Marie Antoinette: The Color of Flesh–also about love and friendship – was at Caldwell two years ago – another play whose costumes and set dominated the run. He is reported to be currently working on a musical about John Dillinger.
Director Cholerton – one of South Florida’s most capable artistic leaders – brought in this cast – all professionals – from New York City. With the economy in such a mess and arts/ theatre funding so critical, it induced the question as to why he couldn‘t have used local talent. After all, South Florida is filled with capable actors!
The show runs through Sept. 5. Call 561 241-7432.
EARTHY BLUES NUMBERS KICK OFF FLORIDA STAGE AT ITS NEW HOME
It’s all about the music; some 90 minutes of it, by the way, a non-stop revue of heartfelt, often earthy, renditions of blues, powerfully and perfectly executed by four performers who have the audience in their hands. That’s what is happening at Rinker Stage of the Kravis Center where the veteran company Florida Stage has taken up its new residency.
It’s called Low Down Dirty Blues – and it turns the three-sided seating into a South-side Chicago night club long after the patrons have gone home and four entertainers sing some 22 numbers filled with double entendre messages and suggestive, sexy topics. They are singing for their own enjoyment – much to the delight of the Florida Stage audience.
You really don’t need a story-line in such a setting. – and you don’t get one. But, no one seems to care. The music is so satisfying and – at times – inspiring, it’s sufficient to be entertained – especially by this extra-ordinary four-some.
Sandra Reeves-Phillips is the one who owns the Windy City night club featuring blues singers and she is a big-voiced lady, who gets the after-hour vocalizing in high gear with some thigh-slapping movements as she belts “They Call Me Big Momma.” She is followed by Mississippi Charles Bevel as a guitar-strumming, soft-singing entertainer who becomes a philosophical wonder as he sings “The Grapes of Wrath” and Gregory Porter – a huge man with lungs to match his body — who dominates the stage when he is singing, especially a number called “Change Is Gonna Come.”
But, the one performer who will be with you long after you leave the Rinker theatre is Felicia P. Fields, who rightfully earned a Tony nomination for her turn in The Color Purple on Broadway. A huge woman with a mountain of talent Fields enthralls as she delivers the erotic “My Stove’s In Good Condition” and the memorable “I’m Not That Kind of Girl.” She also interacts with a male in the audience (the audience member I saw was in his 90s and had been married 68 years) and Fields had the audience and the gentleman in near-hysteria. She is a terrific entertainer who knows how to push the audience’s button! She could have done a one-woman show and have had its audience eating out of her hands. She is a wonder!
And, when all four get together – such as in ”Nobody’s Fault But My Own,” it is pure joy.
This sizzling and sassy show is the creation of Tony-nominated co-creators Randal Myler and Dan Wheetman (who received the nomination for It Ain’t Nothing But the Blues). Myler directs this show and Wheetman is the music director. Jack Magaw’s realistic set, comes complete with some tables for the audience, making the night club set totally realistic. The backdrop of Chicago signage sets the scene.
This show runs through September 5. Call 561-585-3433 for tickets.
BARBARA BRADSHAW, PETER HAIG PERFECTLY IN SYNCH IN THE MODERN CLASSIC – THE GIN GAME
WEST PALM BEACH, FL – Take a 1978 Pulitzer prize winning play for drama. Find two of the area’s finest actors whose voices, expressions and gestures are so perfect , one can only be reminded of just how fortunate it is to have them both working in South Florida. Put them all is the hands of a capable, astute director and skilled stage technicians and set masters.
That’s the ideal mix going on at the tiny space known as Palm Beach Dramaworks from now through August 15.
The play is the classic The Gin Game by D.L. Coburn, which captured the Pulitzer in 1978, and won the hearts and minds of thousands of theatre-goers who watched Jessica Tandy and Hume Cronyn bring the tragicomedy to life. There were revivals some 22 years later with Julie Harris and Charles Durning, a television movie with Cronyn and Tandy and then another TV rehash on PBS with Mary Tyler Moore and Dick Van Dyke in 2002.
The story is the same as it was in 1977, when the two-character s met in a seedy old age home where their friendship flourished over a card game — even when it refers to “old people” who have just reached 73. That portion of the play could probably be updated to 80 or 90-something. Yesterday’s 73 is today’s 90 (ask anyone old enough to validate those ages). In that regard, this play about the psychological warfare over a deck of cards by two elderly people has not met the test of time. (but, only in that regard). My only criticism is that 73 just doesn’t seem so advanced an age nowadays!
Except for that “age problem” for today’s theatre goer, this production is superb – especially the casting of Barbara Bradshaw and Peter HaIg as the man and woman condemned to a ramshackle nursing home where their battle of wits endures over a card game. It is the 26th time Bradshaw and Haig have appeared together in a South Florida production – and their appearance in The Gin Game is further proof of just what consummate craftsmen they are. Bradshaw is simply wonderful as Fonsia – a lovely older lady who proves she has nerves of steel — and Haig –who plays a man who doesn’t quite understand the world around him — exploits every comic line, giving the audience a chance to chuckle, even as they witness time enveloping this individual. Bradshaw and Haig are so much in synch, you feel you are watching a couple of old “pros” (even if their real-time age may be much younger than the characters they play!).
J. Barry Lewis is a savvy director and he has at his disposal a crew of amazing talent – a nursing home porch set by Michael Amico , Costume Design by Brian O’Keefe, expert lighting by Ron Burns and some excellent sound relays by Steve Shapiro.
The Gin Game is virtually plotless. It’s about two strangers and their effect upon one another. They play gin rummy, while engaging in lengthy conversations about their life before ending up in this dumpy old age home. In fact, they learn too much about one another. There is sufficient humiliation to expose each other’s weaknesses. And, a finale which one does not expect! Basically, the “game” is a metaphor for life!
The Gin Game runs through August 15.. Call 561 514-4042.
Some Recent Reviews
Posted on 11. Jul, 2010 by Howard Salus in Entertainment, The Arts Advances, The Arts Reviews
By Ron Levitt
EN V Magazine/Florida Media News
IDEALISM TAKES ON REALITY IN SECRET ORDER
CURRENTLY AT CALDWELL THEATRE IN BOCA RATON
Somehow or other, we have been tuned to believe that research scientists are only interested in serving humanity – a far cry from the corporate boardrooms and media competition we see on stage, in the movies and in real life. But, playwright Bob Clyman’s Secret Order currently at the Caldwell Theatre in Boca Raton tries to implode and explode that myth.
Unfortunately, his two-act play – all about finding a cure for cancer – runs for two hours and 40 minutes , much too long to uncover the fact that even those we praise for being idealistic and beyond reproach are just as vicious as those who make headlines for financial misdeeds or movie/TV publicity.
Clyman does have a hint of insight, irony – even some humor – in this production, but he takes much too long to allow us the wonderment of how much it takes for someone we respect to jump out of the ivory tower of researching for the public good and/or leaving his own indelible mark in the records book or for economic gain. It seemed to me, Secret Order might have made the same point in a less talkative script in one-act, possibly about 90 minutes.
Author Clyman uses only four characters to make his point – although their long speeches and scientific jargon at times seem to indicate others are implied in the 26 short scenes which make up this play.
Clyman ‘s script – under the direction of Tom Woods – is about the socially-naïve, young cell researcher Dr. William Shumway (played by the best thing in this production, actor Nick Duckart) , who seems to have possibly discovered a cancer cure. When this comes to the attention of Dr. Robert Brock (Gordon McConnell )the head of a New York-based Institute, the older doctor sees it as a fund-raising tool and a possible Nobel prize, which twice has alluded him. So, the idealistic Shumway, leaves his lab in Michigan to work with Dr. Brock (sort of a medical version of Mr. Smith Goes to Washington) In the meantime, the young idealist befriends a sharp and ambitious research assistant (Katie Cunningham) and meets an aging scientist Dr. Roth (a terrific Howard Elfman) who is trying to protect his own future in the Institute.
The play goes from high hopes for a medical breakthrough to the reality of protecting one’s turf. Once you get past the scientific terminology and considerable rabbit test explanations, the author does make numerous valid points about how even researchers have their price in the reality of things.
Tim Bennett, as always, is a scenic guru. His abstract set and use of sliding material allows the cast to easily move from one scene to another.
This production runs through August 11. Call 561-995-7432 or 877 245-7432 for tickets.
IDEALISM TAKES ON REALITY IN SECRET ORDER
CURRENTLY AT CALDWELL THEATRE IN BOCA RATON
Somehow or other, we have been tuned to believe that research scientists are only interested in serving humanity – a far cry from the corporate boardrooms and media competition we see on stage, in the movies and in real life. But, playwright Bob Clyman’s Secret Order currently at the Caldwell Theatre in Boca Raton tries to implode and explode that myth.
Unfortunately, his two-act play – all about finding a cure for cancer – runs for two hours and 40 minutes , much too long to uncover the fact that even those we praise for being idealistic and beyond reproach are just as vicious as those who make headlines for financial misdeeds or movie/TV publicity.
Clyman does have a hint of insight, irony – even some humor – in this production, but he takes much too long to allow us the wonderment of how much it takes for someone we respect to jump out of the ivory tower of researching for the public good and/or leaving his own indelible mark in the records book or for economic gain. It seemed to me, Secret Order might have made the same point in a less talkative script in one-act, possibly about 90 minutes.
Author Clyman uses only four characters to make his point – although their long speeches and scientific jargon at times seem to indicate others are implied in the 26 short scenes which make up this play.
Clyman ‘s script – under the direction of Tom Woods – is about the socially-naïve, young cell researcher Dr. William Shumway (played by the best thing in this production, actor Nick Duckart) , who seems to have possibly discovered a cancer cure. When this comes to the attention of Dr. Robert Brock (Gordon McConnell )the head of a New York-based Institute, the older doctor sees it as a fund-raising tool and a possible Nobel prize, which twice has alluded him. So, the idealistic Shumway, leaves his lab in Michigan to work with Dr. Brock (sort of a medical version of Mr. Smith Goes to Washington) In the meantime, the young idealist befriends a sharp and ambitious research assistant (Katie Cunningham) and meets an aging scientist Dr. Roth (a terrific Howard Elfman) who is trying to protect his own future in the Institute.
The play goes from high hopes for a medical breakthrough to the reality of protecting one’s turf. Once you get past the scientific terminology and considerable rabbit test explanations, the author does make numerous valid points about how even researchers have their price in the reality of things.
Tim Bennett, as always, is a scenic guru. His abstract set and use of sliding material allows the cast to easily move from one scene to another.
This production runs through August 11. Call 561-995-7432 or 877 245-7432 for tickets.
Breakout Theatre Company Zoetic Stage Premieres New Play
by McKeever, Announces Season
Miami: A group of prominent local artists and community professionals has formed a new
not-for-profit theatre, Zoetic Stage that promises to be ” Miami’s theater company.” Under
the Artistic Directorship of Stuart Meltzer, the group’s goal is to produce new and existing
plays and musicals that reflect our community but can also reach a world stage. The
company also seeks to create more opportunities to give local artists a place to work as well
as resonate nationally and internationally as a theatre of artistic excellence.
Zoetic Stage is an ensemble company of some of South Florida’s finest professionals. A
home to playwrights, actors and directors who wish to work together in a creative and
collaborative atmosphere with one goal in mind: To produce thought-provoking engaging
theatre. The roster of company members include South Florida playwrights Christopher
Demos-Brown and award winning playwright Michael McKeever, both of whom are cofounders
of Zoetic Stage along with Meltzer and Stephanie Demos-Brown, Christopher’s
wife. Other company members include Irene Adjan, Stephen G. Anthony, Jeffrey Bruce,
Nick Duckart, Lela Elam, John Felix, Elena Maria Garcia, Maribeth Graham, Amy London,
Margery Lowe, Amy McKenna, David Perez Ribada, Jerry Seeger, Kim St. Leon, Barry
Tarallo, Laura Turnbull & TomWahl. Meltzer adds, “We have an amazing group of theatre
professionals. The best at what they do. These are people that work throughout the region
on a regular basis.We are thrilled to be able to give them another venue in which to play.”
Zoetic Stage will kick off its inaugural season with the World Premiere of Michael
McKeever’s wickedly funny and sexy new play
South Beach Babylon. The play explores
the lives of five South Beach artists during the weeks leading up to Art Basel. A fascinating
look at what it takes to create art without selling one’s soul in contemporary America.
McKeever is South Florida’s most produced playwright. His plays have been produced
extensively throughout South Florida as well as America and Europe. He has been
nominated numerous times for the Carbonell Award for Best NewWork and has won the
honor three times.
Zoetic Stage’s second production will be a Florida premiere of
Stunning by 2008 Steinberg Award winner David Adjmi. Adjmi has been called “a playwright in the Albee tradition.”
Stunning, which premiered at the Lincoln Center in 2009 and played to sold out audiences,
is the provocative story of a well-to-do Syrian Jewish couple in Brooklyn and their African-
American maid whose lives are turned upside down in a clash of cultures in contemporary
America.
In spring of 2011, Zoetic Stage will present the World Premiere of Christopher Demos-Brown’s Wrongful Death. A jaded personal injury lawyer battles to land the case of her
career in this satirical look at the way the American civil justice system values human life.
This past spring, the world premiere of Demos-Brown’s When the Sun Shone Brighter at
Florida Stage received critical acclaim for its examination of the Cuban-American political
experience in Miami.
Zoetic Stage will round out the season in early summer with the Southeastern Premiere of
Carlos Murillo’s Diagram of a Paper Airplane. An intricately woven tale of people not
being able to forgive or forget. Chock full of comedy, drama and guilt, this fascinating play
examines the lives of four former best friends and the Pandora’s Box that is opened when
one of them dies tragically.
Currently, Zoetic Stage is finishing up negotiations with a number of exciting A-list South
Florida venues at which to present these works. While the inaugural season will play out
at various performance spaces throughout Miami, the Zoetic Stage Board will continue its
search for the perfect permanent home. “It is the goal of this company to present top
quality theatre to the South Florida audience. We want their experience to be the best it
possibly can be. Everything – from production, to script, to the venue itself – needs to be
the highest quality we can possibly present,” Meltzer says, “We are talking about a
company of extremely committed artists with years of experience behind them. This is the
real thing.”
Meltzer was the Artistic Director of City Theatre in Miami for two years, where he oversaw
and expanded the Summer Shorts Festival, introducing the company’s wildly successful
adult-themed undershorts. His New York and South Florida directing credits are
extensive. AMiami native, Meltzer has worked as Head of Theatre at Gulliver Preparatory,
and full time faculty at NewWorld School of the Arts. He received his M.F.A. in Directing
from the Actors Studio in 2002 and B.F.A. from the New World School of the Arts in Miami.
For more information about Zoetic Stage, contact Producing Artistic Director, Stuart
Meltzer, at (954) 235-6208.
The company’s website: zoeticstage.com will be up and running in two weeks.
BROWARD STAGE DOOR’S DROWSY CHAPERONE
HAS STELLAR CAST LED BY KELLEY; A PERFECT “TEN”
After you’ve seen a musical on Broadway and given it a “10,” you often expect a regional production to be awarded hopefully somewhere between a “5” and “8.” Wrong!!!! Broward Stage Door’s current production of The Drowsy Chaperone – the Company’s best show since its wonderful A Little Night Music last season — definitely has earned a “10.” It is outstanding.
The Drowsy Chaperone – an homage to the American musicals of the 1920s Jazz Age, is not your usual Broadway show. It actually examines the effect such musicals have on their adoring fans. However, don’t look for familiar tunes. It’s all quite new and you’ll be humming “I Don’t Want to Show off” or “As We Stumble Along” long after you’ve left the theatre.
Chaperone was written by Bob Martin and Don McKellar with music by Lisa Lambert and Greg Morrison. It had its world premiere in Canada in 1998 but never got to Broadway until mid-2006. It went on to win 5 Tony awards from 8 nominations, including best musical ,as well as 7 Drama Desk awards that year.
This South Florida production has several key items going for it – a star and director in Dan Kelley whom you will feel had this part (the Man in the Chair) written for him; a terrific cast led by Laura Oldham and Eileen Faxas; super choreography by Chrissi Ardito and a classy set by Ardean Landhuis.
The show begins when a fanatic, die-hard musical theatre fan and narrator (Kelley) plays his favorite album – a 1928 fictional hit called The Drowsy Chaperone and the show bursts into reality in his humble apartment – a show within a show. As Kelley spins his vinyl record, you are actually immersed in the tale of a Broadway star (a vivacious, golden voiced Oldham) and her groom-to-be (handsome, dancing Jeffrey Funard). Along the way, you’ll meet her producer Feldzieg (Jonathan Van Dyke), his ditzy blonde girlfriend (a terrific Sari Feldman), two mobsters in chef’s attire who want to stop the wedding (Phil Gosselin and Andrew Ford), an absent-minded dowager (Caitlan Maloney), the butler (Joshua Nicholson), the best man (expert dancer Matthew Alexander), a Latin lothario who is urged to break up the wedding (an over the top, comic portrayal by Matt Ban) an unexpected air pilot (the wonderfujl Nadeen Holloway), and finally—and most certainly –The Chaperone who is drowsy because she doesn’t believe in Prohibition and likes to imbibe (a simply show-stopping, wonderful Eileen Faxas).
Add to this stunning cast, Shain Stroff (also the dance captain), Cheis Chianesi, Eliana Ghen and Caroline Kittrell, and you have an A-one ensemble.
It may be redundant to praise Dan Kelley again, but – in addition to his astute direction – his rubber-faced, funny characterization of the Man in the Chair (played on Broadway by author Bob Martin ) is near-perfect. It will be tough for local award nominators to pass him by in 2010.
Yes, we think this Drowsy Chaperone deserves a “10.”
This production runs through July 25. Call 954-344-7765.
15th Season – Summer Shorts
Posted on 09. Jun, 2010 by Howard Salus in Entertainment, The Arts Reviews
A MIXED BAG DESPITE A FINE ACTING ENSEMBLE
By Ron Levitt
ENV Magazine/Florida Media News
From the get-go of the opening play at Summer Shorts, you hear a familiar voice ( you guess that it’s director/star, uncredited Avi Hoffman) as a not-to-be-seen sports announcer. From that point on there is no need to guess!! The 2010 version of City Theatre’s summer offering Is a definite mixed bag of monologues, absurd and silly short productions, and occasionally an interesting piece of writing. The only sure-fire , A-plus credentials of this year’s edition which launches the hot season in South Florida are the amassed amount of talent among the eight actors in Signature Shorts.
Let no one mistake my view. If you are a theatre afficianado, no matter how you view the individual storylines, you will definitely be intrigued by the acting prowess in this year’s production. This array of thespian ability is accomplished in an octet of plays which launched the company’s 15th year at Miami’s Arsht Center for the Performing Arts.
There are also seven plays with the same actors in a late-night, R-rated ”undershorts” (which I did not review) and a children’s musical which make up the Summer Shorts lineup.
But, among the pleasures of this year’s Shorts, is the ensemble. Stephen Trouvillon–who has participated in Shorts every year – is a standout once again. Whether he is doing a dramatic solo role re-living a childhood tragedy (Lobster Boy by Dan Dietz) or playing a tyrannical father in a silly comedy (Not A Creature Was Stirring by Christopher Durang). he becomes the audience favorite. Laura Turnbull, as well, shines in a dramatic monologue (Euxious by Bridget Carpenter) and as the suffering, absurd wife in Not A Creature.
Add to the above duet of talent, David Hemphill, Scott Genn, Chaz Mena , Maria Elena Garcia, Erin Joy Schmidt and newcomer Brenda Zeller and you have four men and four women who deliver the goods – even in some weird plays.
Among the plays which are particularly meaningful is The End of A Perfect Game (by writer Jay Rehak), a short baseball saga in which Genn and Hemphill are particularly noteworthy as sports figures during a crisis during the final inning of a World Series game. It is a simple play which elicits soul searching!
The other plays – particularly those which tried to emulate absurd theatre – fell short, despite the major efforts of the actors.
Summer Shorts remains at the Arsht Center through June 27, then moves to the Epstein Center in Broward for a short run.
Producer Stephanie Norman and the company’s literary director Susan Westfall (who also wrote one of the plays – Look at Me) reportedly went through 1200 scripts before choosing the eight in this year’s Summer Shorts festival.
City Theatre’s 15th Anniversary Season also features the company’s first full-length World Premiere Musical with Camp Kappawanna, with music by Grammy-nominated singer/songwriter Lisa Loeb, book by Marco Ramirez and conceived by City Theatre Producing Artistic Director Stephanie Norman
Here’s where and when you can see Summer Shorts through June 27: at the Adrienne Arsht Center for the Performing Arts, Carnival Studio Theater in Miami; and July 1 – 3 at the Epstein Center for the Arts at Nova Southeastern University (3375 S.W. 75 Ave.) in Davie.
In Miami: Tickets are available through the Arsht Center’s Box Office at www.arshtcenter.org or (305) 949-6722. Broward: Tickets are available through the Epstein Center’s Box Office at www.citytheatre.com or (305) 365.5400
Arts Ballet Theatre Continues to Astound
Posted on 16. May, 2010 by Howard Salus in Entertainment, The Arts Reviews
By Lawrence Budmen
The miracle that is Arts Ballet Theatre of Florida continues to astound. Vladimir Issaev has created a remarkable ensemble of dancers that are well versed in the grand Russian classical tradition. The company’s ever expanding repertoire embraces the history of the art form from the early stirrings of 19th century ballet (via Paris and St. Petersburg) to the revolutionary concepts of Diaghilev’s collaborative works for the Ballet Russe.
Issaev’s latest spectacle is a revival of Harlequinade, one of the classic creations of Marius Petipa that has unaccountably fallen off the radar. Issaev’s ability to recreate the milieu, texture and spirit of a landmark opus is rare indeed. Seen on May 16 at the Julius Litman Theater in North Miami Beach, Harlequinade lit up the stage in a feast of color, wit and the sheer joy of dance.
Set to a tuneful score by Riccardo Drigo, Harlequinade is a pure delight. Like Petipa’s far more popular Don Quixote, the piece combines the madcap escapades of the title character with romance and light hearted spectacle. Issaev is a brilliant choreographer. Like such icons as Ashton and Balanchine and the modernist master Mark Morris, Issaev has the ability to channel humor through dance without affectation. His high wire ensemble pieces are matched by the delicacy and subtle beauty of his choreography for solo dancers. South Florida is indeed lucky to call this exemplar of a great tradition one of its own.
Harlequinade is great entertainment but also balletic art at its best. Arts Ballet Theatre fielded a multi-hued production, filled with beautiful costumes, bright sets and a fetching core of dancers. The ensemble work of this company is ever more impressive. The large cast, (embracing both the company’s professional division and junior dancers) covered itself with glory. All of the solo dancers were top notch, whether pirouetting at rapid speed or enacting playful characters through movement. Arts Ballet Theatre is probably the only American company to present Harlequinade. With its vibrant choreography and outstanding dancing from all involved, Harlequinade is a real treat. Kudos to Issaev and the company for presenting this irrisistible confection.
The first half of the program showcased many of the dancers in a series of short works and Pas de Deux. Opening with Issaev’s neo-classical, award winning El Encuentro , set to the sensuous Albinoni Adagio, the romantic duo showcased Eric Simons-Brown and Shannon Smith from the company’s professional division.
Adolf Messerer’s Spring Waters (to the romantic music of Rachmaninoff), one of the most famous Pas de Deux in the repertoire , featured the splendid partnering of Andrey Konkin and Miho Yoshioka, two dancers who have given outstanding performances in previous Arts Ballet Theatre presentations.
Petipa’s justly famous Don Quixote Pas de Deux is a test of speed and strength of dance technique. Jun Tanabe has speed aplenty and Kaori Kukui has incredible balance and sheer technique to burn.
Issaev has described his Glinka Suite Fantastique as a piece where the dancers feel the freedom of movement and expression while feeling the passion of dancing through a beautiful waltz by the father of Russian music Mikhail Glinka. Featuring three men and six women, the work is replete with lightness of motion. Brief solos for each of the dancers feature the males in a series of tour jetes, concluding with the three trios on stage. Professional members FaN ShI, Konkin and Smith were joined by members of the company’s junior division (ages 15-17).
The real excitement of the day belonged to Harlequinade. With the group’s outstanding talent in high gear, this captivating work was a true gem!
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