Live Theatre Review - The Bard in Bars

Art Prevails Project staged its spectacular show The Bard in Bars at the Amaturo Stage at Broward Center from July 25, 2025 – July 26, 2025.

Knowing nothing of this show, you can probably guess it’s about Shakespeare – but what of the “bars?” Is it like Drunk Shakespeare? Or "bars" – is it like when Shakespeare is performed by prisoners, bringing beauty and art to their desperation? Good guesses, but no – the “bars” in this case are the ones you spit. Consider this show The Complete Works of William Shakespeare (Abridged) meets & Juliet, but set to hip-hop.

I'm only half the target audience for the show. I'm enchanted by Shakespeare, but my knowledge of hip-hop was limited to what B-94 was playing and what Casey Kasem's Top 40 would spin every Sunday. My hip-hop did not have parental guidance stickers on it. My hip- hop was on Yo! MTV Raps or whatever snuck onto VH-1 in the early 90s (hint: it had a nose big like a pickle and will probably get stuck in your head now). So maybe I'm 5/8 the target audience, because when I finally did cop on (took me about 4 songs) that the songs being sung were adaptations of existing hip-hop songs, the rest of the vision clicked, and if I wasn’t fully invested before, I definitely was now.

This masterpiece sprung forth from the mind of Darius V. Daughtry - The Bard in Bars. Even the title is a thing of beauty; it rolls around on the tongue and the assonance is almost a song itself. But say it too quickly and it will trip you up - it requires a slow touch, careful consideration – a bit like Shakespeare.

I venture to say that what & Juliet did for Shakespeare and pop music, The Bard in Bars has done for hip-hop. It takes a thing you already know and already love and combines it with a thing you already know and already love to make a third thing that you can't help but love. He serves up some of the greatest hits but throws in some deep cuts, and I'm just talking about the Shakespeare.

During the songs, which are partially rewritten for the show, the characters explain the plot, explain their own motivations alternately using their own translation and using Shakespeare's original words, seamlessly code switching from one method to the next. If you are very familiar with Shakespeare, you can recognize the modal shifts, but even if you've never heard or read a word of the Bard, it's easy and pleasing to follow the flow to see where it takes you.

Iago gets a Disney-villain type song that brings new focus to his motives (and to Shakespeare’s motives in writing him).

When it comes to the treatment of Hamlet – I don’t want to give away too much: go and see the show! – it’s nothing less than perfection. I harken back to & Juliet, in that the way that the songs are incorporated makes it feel like they were written FOR the play rather than the other way around, the way they perfectly fit with the action. (If you haven’t seen & Juliet yet, next season at Broward Center!) The song choice here – hooray! one that I actually know! – fits so well that one wonders if the song’s composer was thinking of Hamlet when he wrote it. I had to come home and listen to it again, but this time focusing on Shakespeare’s play, and then marveling at how Mr. Daughtry’s mind works.

There were several moments in the show where I broke out in goosebumps and several where I broke out in tears. I laughed, I cheered, I cursed my feeble mind for not having written this script.

Making Shakespeare accessible is always a challenge and making Shakespeare fun a bigger one. This production does both, and I would further venture to say that it makes Shakespeare desirable.

Everything in this show is a joy – the set design (subtle or elaborate, the show illustrates that Shakespeare doesn’t need to be expensive to be performed, which makes it more accessible); the costumes (by AGuy Style) (Rosalind’s beautiful skirt, Puck’s fun fairy look, Willy Shakes’s steampunk military garb, the orchestra members in crowns, and Hamlet’s magnificent coat, to name a few); the beautiful orchestral arrangements of (what I now recognize to be) classic hip-hop numbers (arranged by Waldron Dunkley and performed by New Canon Chamber Collective); the dynamic choreography (by Shanna Woods) for all the musical numbers (and some of the non-musical ones). How lovely and fortuitous that real-life twins (Isadelle Mercedes and Yamille Mercedes) are playing Viola and Sebastian in this production! Willy Shakes himself (David H. Hepburn) is outstandingly complex in his portrayal of the (sometimes controverted) author of the works.

The beauty of this play and its casting is that it brings Shakespeare to a possibly underserved community – people of color. Shakespeare’s works don’t tend to highlight people of color, and when they do, things don’t necessarily work in their favor (think Othello and Merchant), so it’s beautiful that this show brings Black artists and Black music together with a Black cast and crew to prove that Shakespeare can - and should! - be for everyone. (Side note, I love that shows like this and Fat Ham are starting to emerge and run with this theme. Not to keep bringing up & Juliet, but & Juliet.)

I could pick this show apart for hours, describing how I love love love it (let me count the ways), but instead, I urge you to GO see this show if you get a chance. And if you don’t get one, MAKE one. FIND THIS SHOW AND SEE IT. It will open your mind, and if your mind is already open, it may blow your mind, like it did mine.

Buy tickets for July 26, 2025

Live Theatre Review - Zorro the Musical

For one more weekend only, Sociedad Actoral Hispanoamericana in association with Zorro London Limited puts on a feast for the senses in the thrilling Zorro The Musical, directed by Miguel Sahid, at Miami Theater Center.

The show features music from the famed flamenco pop band The Gipsy Kings. The cast belts out number after fabulous number and the effect is infectious. The Gypsy troupe executes huge dance numbers in bright, exotic costumes. They dance with spirited passion and combine to beautiful effect. I was particularly impressed with outstanding dancers Serena Concepcion and Any Dalay; Dalay, as the youngest of the Gypsies, exhibits a poise and confidence to rival any of her co-stars.

The amount of work that went into these performances is evident as the dance moves were crisp and tight where they needed to be and alternately flowing and sensual. (Credit is due to choreographer Manny Castro, Jr.) The freedom in the spirit of the Gypsies really shines through.

Rebecca Diaz is perfect as Inez, the voluptuous Gypsy Queen. She is overflowing with confidence and sexuality and owns the stage whenever she is on it.

Macia McGeorge portrays Ramon with controlled and calculated malevolence. Ramon operates under a sense of righteousness in his evildoings, and McGeorge infuses a quality of grace into an otherwise detestable character. McGeorge’s portrayal is such that you can sympathize with him even at his worst.

Seth Trucks as Don Alejandro maximizes his minimal stage time with a very heartfelt and moving performance. In a dual role, he is also half of one of the most exciting live sword duels I have witnessed. All of the fight scenes were well-choreographed (Michael Engelmann) and well-executed.

The charismatic youth actors Martin Farjado (Young Diego), Mia Alessandra (Young Luisa), and Miguelangel Cubillos (Young Ramon) look so natural on stage. Their professionalism is remarkable and their joy in the finale was contagious.

I was pleasantly surprised with the amount of comedic elements contained in this show. Tommy Paduano as Sergeant Garcia was hilarious, and many little humorous bits and witty quips are peppered throughout the show, bringing a bit of levity to the seriousness of the struggle of the peasants looking to Zorro to liberate them.

Lito Becerra does simply phenomenal job as “the man behind the mask,” the famous trickster, El Zorro. Performing backflips and one-handed cartwheels, Becerra is every bit as nimble and indeed fox-like as his nickname, “El Zorro” suggests. His aerial acrobatics are thrilling and graceful. The beautiful stunts that he performs on the Cirque-de-Soleil-like silks were choreographed by Sebastian Gil, who along with Javier Valle fills out the trio of synchronized aerialists.

Luisa, played by Shalia Sakona, goes through an evolution onstage as her character undergoes a number of trials. Sakona really displays her skills in the song and dance duets with Becerra.

Overall, I love the way all of the different relationships are portrayed. This musical is ultimately about love: between friends, between family members, between couples, and between communities, and I walked out of the play feeling that love.

Zorro the Musical has four performances left: Friday, April 13 at 8pm; Saturday, April 14 at 2pm and 8pm, and the final show on Sunday, April 15, at 2pm. Tickets for the shows can be purchased online through zorro.brownpapertickets.com or through goldstar.com, or by phone at 800-838-3006.

Miami Theater Center, 9806 NE 2nd Ave, Miami Shores, FL 33138

New Music Review: U2 - Songs of Experience

I’ve tried to avoid reading too much or listening to too many interviews about the album so that I could form an opinion based on the work and my U2 knowledge alone without having my thoughts being influenced by the words of others.

Therefore, what follows is merely my interpretation and impressions from listening to Songs of Experience armed with nothing more than the lyrics book, the liner song credits (I didn’t read the explanations), and my past knowledge of U2.

It’s obvious that the title is at very least a nod to poet William Blake, who penned Songs of Innocence and Songs of Experience, two poetry collections published first in 1789 and 1794, respectively, then later bound and published together as Songs of Innocence and Experience. Like Blake’s poems, U2’s Songs of Innocence and Experience refer to one another.

Three of the Songs of Experience directly bite from the corresponding album: "13 (There is a Light)" seems almost to be a reprise from the earlier "Song for Someone." The song does become more reflective and looks inward, a theme that seems to run through this new album. It’s as if, in seeking to write legacy songs to leave for the future, Bono seems to be penning lyrics to the past.

"Lights of Home" uses the bridge from "Iris," an interesting choice since the Innocence song is about Bono’s deceased mother and the Experience song seems to be about the “rebirth” he experienced after his near-fatal bike accident in November of 2014 - which came four days after the jet on which he was traveling lost a rear door - (“I shouldn’t be here ‘cause I should be dead”) *a moment of silence for thanks to whomsoever spared him*

"American Soul" takes directly from "Volcano" in both lyrics and music, with maybe a little throwback to "Get On Your Boots" with the drum roll transitions and perhaps a soupçon of "Vertigo" in the guitar.

"Red Flag Day" is perhaps the most subtle reference to one of the Songs of Innocence, touching on the subject of breaking waves, corresponding to "Every Breaking Wave."

The band has lost none of its political fervor, as clearly evinced on "Red Flag Day." It starts off as a possible love song, but the bridge of the song brings to mind vivid pictures of Aylan Kurdi, the 3-year-old Syrian boy whose body washed ashore when his family was trying to escape Syria. But the striking line, “Not even news today, so many lost to the sea last night,” makes it hit even harder. That child was the one we heard about, but the many Syrian refugees (and refugees of all kinds) that are lost to the sea trying to find sanctuary don’t even make the radar. And there is an ironic criticism in the following line, “One word that the sea can’t say is ‘no’” – referring, it seems, to the many countries, the United States in particular, who did say “NO” to these people.

Upon first listen, "Red Flag Day" stood out as the superior song, infectious and riveting. Vocally, Bono soars on this track; Adam’s bassline carries the verses and Larry’s drums dominate the chorus, and Edge’s backing vocals – I’m always astounded by the beauty of his voice – are the final piece that make this song perfect.

From the first note, "The Little Things That Give You Away" gives itself away – it is a song so poignant that it sounds like a punch to the heart. It’s an ode to every one-sided relationship, where the other half just stops listening and communication ceases (“the words you cannot say / Your big mouth in the way”). It’s the point in life where you finally have to admit when something is over and let go.

The second half of the song seems to be explaining the “why”; from “sometimes,” the lyrics take on a more introspective and personal bent, describing the personal struggle that everyone experiences at least once in their life – anxiety, doubt, fear, grief. (“Sometimes, I’m full of anger and grieving / So far away from believing / That any sun will reappear”) Between Innocence and Experience, both The Edge and Larry lost their fathers – Larry’s father passed away days before the Innocence + Experience Tour was to begin in 2015. No doubt these losses brought back memories of Bono’s own father, whose loss inspired “Sometimes You Can’t Make it On Your Own.”

Sonically, the song opens with Larry’s slow drum beat. When the “sometimes” part begins, the piano comes in and then Edge’s rapid-fire guitar and Larry’s drums combine to give this song a slow crescendo of fast notes ending in a plaintive word and sorrowful piano note.

Any speculation as to Bono’s vocal abilities or any decline thereof are assuaged on that and the following track: “Landlady” is clearly a sort of love letter to Ali – and, as an extension, I’m sure, to all the U2 wives – for holding down the fort while he / they are on the road. “Landlady” sonically hearkens back and offers a touch of the feeling from The Unforgettable Fire’s “Promenade” – just a sense of ascending. I love the line, “I’ll never know, never know what starving poets meant / ‘Cause when I was broke, it was you who always paid the rent.” There’s a hint of Sinatra in the vocals as well.

"Summer of Love" is a funky little number that floats along entirely on Adam’s bass track, and the shaker sashay and Edge’s exotic flamenco-sounding guitar calls up a sense of summer while slipping in a little dark material. Lady Gaga provides some backing vocals on this airy delight.

"The Showman (Little More Better)" is a rather fun, tongue-in-cheek song with Bono calling himself (presumably) out as a caricature. I feel like it hearkens back to the days when he became The Fly – “I lie for a living, I love to let on / But you make it true when you sing along.” It sounds like a reference to the whole megalomania circus that was The Zoo Tour, and how Bono pretending to be a huge rock star sort of re-launched U2 as a huge rock band.

"You’re the Best Thing About Me," released as the first single, is a another classic example of U2’s playfulness. It’s unclear whether its meant to be about his wife or his children, but maybe it’s both. Again, he seems to address himself at the end (“I can see you love her loudly / when she needs you quietly”). The biggest standout to me is the powerhouse of drums.

Originally, the Auto-Tune on "Love is All We Have Left" grated on my nerves, but after a few listens it became less intrusive and, thematically, it’s a very apt song to open this collection.

"Get Out Of Your Own Way" segues into "American Soul" with Kendrick Lamar reciting the gospel according to U2, and while the songs can both be interpreted to be advice given from one person to another (or to himself) they are clearly also dedicated to the American people and in direct criticism of the current political regime. The same goes for “The Blackout,” and this time when Bono references a “big mouth,” we know it’s not his own he’s referring to. "American Soul" puts on display the hypocrisy of the politicians that claim America is a Christian nation with the witty line: “A country to receive us / Will you be our sanctuary / Refu-Jesus”?

“The Blackout,” despite being a politically-charged song about the end of the world (“Is this an extinction event we see?”) is sonically a proper party dance song with its Achtung-Baby reminiscent guitars and funky bass. The chorus is an amazing thrash-about time that is the signature move of Jacknife Lee, who produced this track and about half of the album. U2 has become very schooled over the years in cutting the sour with the sweet.

Gracing the album cover is Bono’s elder son and Edge’s youngest daughter, and presumably Songs of Experience was intended to pass on advice from a place of experience to the younger generation. In “Love is Bigger Than Anything In Its Way,” while it certainly sounds like it could be fatherly advice, the lyrics read like a letter to Bono’s younger self (“So young to be the words of your own song / I know the rage in you is strong / Write a world where we can belong / To each other and sing it like no other”). So much of U2’s earliest work was full of indignation and outrage. Their work still expresses their discontent with the atrocities of the world, but they have learned to express it more artfully. The anger is still there, but it’s been channeled in a nonviolent fashion.

** from the deluxe album**

Recalling the sound from The Joshua Tree era, the very personal "Book Of Your Heart" which addresses the marital bond, ends with a universal thought: “Love is what we choose to do.” Although on the surface, it could be speaking to love being a verb rather than a noun: the notion that a couple needs to actively work to remain together. But on the whole of the album, it has the implication that our actions create love in this world; we just have to choose the right ones.

New Music Review: Alex Cuba - Lo Único Constante

I’ve been a fan of Alex Cuba’s music since 2006, when my admiration for Jason Mraz’s music led me by delightful chance to Alex’s world. I’ve followed his career since then and have watched with pleasure as he explored new frontiers and was rewarded by the industry as well as his fans. Being well-versed in his musical career, I can say that his 6th studio album Lo Único Constante (The Only Constant) is a bit of a misnomer: in this album there are many constants: Alex’s insightful lyrics and his pervasive sense of faith, his steadfast optimism and his pioneer spirit, and his skillful musical arrangement accompanied by his decadent voice.

But really, “Lo Único Constante,” as Spanish-speakers will recognize, is a truncation of a longer quote – “lo único constante es el cambio” – the only constant is change. I think this title is meant to hint to this truth but also to pay respect to that in life (both objectively and his own, subjectively) which has remained unchanged.

In the liner notes of the booklet, Alex prefaces the lyrics of each song with his own explanation, offering you a glimpse into the thoughtfulness that went behind the writing of each song.

The album takes a back-to-basics approach, straying from the electric, opting instead for orchestral string arrangements on several songs. One song gets stripped all the way down to acapella – a first for Alex on record: the beautiful “Piedad de Mi.” This is a percussive album, listing six different instruments in the family, not including the acapella “percussion”. Alex has shown his love for drums in previous albums – Aqua del Pozo devoted a song to one instrument / drummer in “Y Que Bongo,” and this time around, Alex shares his preference for the “Chekere,” an instrument of West African origin consisting of a hollow gourd surrounded by a mesh of beads which are manipulated to produce their sounds. They are similar to but distinct from and more flexible than maracas in the sounds they make.

Alex includes an English-language track on this album – the fourth time in a row he’s sung at least one track in English on an album. “Look What You Started” is the only song on Lo Único Constante not written entirely by Alex, as opposed to his largely collaborative previous album, Healer. Language barriers have never been a problem with Alex’s songs, however. He weaves emotion into them all that mirror the lyrics, punctuating them in a way that the meaning of the song is apparent regardless of what language you speak. The flamenco guitars on Lagrimas Del Que Llora (Tears of the One Who Cries) describe the sadness that Alex declares we need to abandon in this hopeful final note.

You can also check out another first for Alex Cuba – Alex translates his “Todas Las Cabezas Estan Locas” to French – “Dans La Folie De L'amour” – and sings it for the single.

Lo Único Constante is available from:
Alex Cuba's Official Website
Amazon
iTunes

Listen to Alex Cuba on Spotify and Pandora.

Follow Alex Cuba on:
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YouTube Channel
iamalexcuba on Snapchat

New Film Review - Let's Play Two

Let’s Play Two, the baseball-themed Pearl Jam documentary film by Danny Clinch opened in select theatres throughout the globe this weekend. Last night, I caught it at Cinemark Paradise 24 in Davie, FL with two of the people I attended my first Pearl Jam concert with last April (which was followed by my second the night after). Between the three of us, there was laughter, tears, and squeals of delight.

I am a relative newcomer to Pearl Jam fandom, but I am a quick study and went from zero to enthusiast in a very short time. It was inevitable that I was going to see this film, but I had additional impetus to check it out.

For me, the moment that Steve Gleason appeared was the zenith of the film, because I came to Pearl Jam by way of him. I had always been on the outside of the band, having somehow formed an incorrect impression of what their music was like and mistakenly thinking it wasn’t my thing. In October of 2013, when Gleason interviewed the band in anticipation of the release of Lightning Bolt, I watched my own misconceptions being shattered as these five amazing and humble guys tackled Gleason’s questions with honesty and real thought. The music from the companion piece from ESPN about Gleason’s bond with Pearl Jam stuck with me (after watching the piece at least 10 times in a couple of days, I imagine it would) and I preordered Lightning Bolt with the thought that Gleason hadn’t steered me wrong musically yet.

I am so glad he steered me to Pearl Jam.

This documentary is part concert, part baseball, and Clinch paired together the baseball segments with the songs in such an appropriate way that it almost felt like the songs were written to score the film. There were times during the concert portion of the film that I lost space and time and I truly felt that I was at a Pearl Jam show as opposed to sitting in a recliner at a movie theatre. Pearl Jam puts on an impassioned show and the Wrigley Field shows were hardly an exception.

Also explored is Eddie Vedder’s connection to Chicago, as he was born and raised there. Clinch juxtaposes Pearl Jam’s first performance at the Metro 25 years prior – and incorporates film of that show – with the spectacle that the Wrigley shows were. Pearl Jam went from opening act to having rooftop “freeloaders” watching their show from outside of the sold-out 41,000+ stadium capacity.

The band’s enthusiasm for music and Vedder’s enthusiasm for baseball are both unchanged.

Even for someone who isn’t particularly interested in baseball, such as myself, it is difficult to watch this film and not get caught up in the childlike glee Vedder feels for baseball and his beloved Cubs. It’s one thing seeing him sport the gear and sing the anthem he wrote for them – at the request of Ernie Banks, Vedder penned “All The Way” in 2007. (Sadly, Banks did not live to see the song lyrics come to fruition, but he did get to stand onstage with Pearl Jam in Wrigley Field in 2013 when they performed it. Incidentally, "let's play two" was Banks's catch phrase.) It’s quite another to watch a 28-year-old Vedder sniffing a strip of discarded stadium sod and the present-day man getting a beer shower when the Cubs advanced to the finals or throwing himself on home plate in joy when they won the World Series on November 2, 2016.

This film is an example of how fandom makes ordinary places sacred. It explores the deep connections between life, music, and sports, and the Venn Diagram intersection where they all meet is the focus of this documentary.

If I’ve come away with only two things from this film, they are that I want to go to Wrigley Field and see a Cubs game (and visit Murphy’s Bleachers across the street) and that I REALLY want to see Pearl Jam in concert again.

After the show, we spoke with a few fellow moviegoers and we all had the same post-concert feeling of brotherhood. This film is more than just a movie – this is immersive.

Let’s Play Two will be released on digital disc on November 17, 2017. To see the film in a theatre near you before then, check for local screenings.

Live Theatre Review - Evening Star Productions's Oleanna

Evening Star Productions opens David Mamet’s Oleanna this weekend at Sol Theatre in Boca Raton, Florida. Director Rosalie Grant stages another successful psychological hit.

Without giving away too many spoilery details, I can say that the actors beautifully illustrated a sliding scale power shift. Sara Grant’s Carol went from mousy to domineering and Todd Bruno took John from self-assured to broken-spirited, but the transition is subtle and the illusion is aided by their hairstyles and clothing choices. But just when it appears that the character’s personality was summed up, a new facet was revealed and the situation became more complex and clouded and opened up a labyrinth of questions.

We discussed the possibilities on the way home and then some for 3 hours after the show, and the next morning it was still on our minds.

This is a three-act, one-setting, two-actor play, so much importance is placed on the nuances of the characters. Subtlety is everything. Grant spoke volumes with one exaggerated eyeroll or the way she perched on a chair or glided across the room.

Bruno similarly purveyed so much with subtext: his mouth was delivering a set of lines that told us about his character while his body delivered a separate set with every telephone call that John took. In fact, it wasn’t until halfway through the third act that it occurred to me that Bruno wasn’t actually on a telephone call with another party – his acting, however, brought that disembodied other party into the show as well, and the other side of the telephone conversations were fully credible.

The chemistry between the two was such that they were able to smooth out the staccato lines that Mamet scripted.

This play is extremely relevant in today’s world. We are confronted daily with so many cases of abuse of power – the news is resplendent with the idea of privilege: what it is, what it does, what it means for those who have or don’t have it. Oleanna doesn’t answer any of these questions, but rather poses them and forces the audience members to begin to try to answer those questions by themselves – and for themselves.

Oleanna runs at Sol Theatre from September 21, 2017 – October 8, 2017.

Tickets are $30 / $20 for students and seniors.

Thursdays - Saturdays @ 8pm
Sunday @ 2pm
through October 8

All performances are at Sol Theatre, 3333 N. Federal Hwy, Boca Raton, FL 33431

photos by Carol Kassie

Live Theatre Review - Sol Children Theatre's Alice in Wonderland

*THIS REVIEW CONTAINS MILD SPOILERS FOR THIS PRODUCTION OF Alice in Wonderland*

Before I begin my review of Sol Children Theatre’s Alice in Wonderland, I need to give a little background:

I didn’t always love Alice in Wonderland. In fact, for a long time, I disliked it. I saw a couple of versions of it as a child that were varying degrees of weird, disturbing, confusing, and frightening. Therefore, it wasn’t until I was in high school that I saw Disney’s animated Alice (my English class watched the film in lieu of reading the book – thanks Texas education!) and fell madly – if you’ll pardon the pun - in love with the story, particularly with the Mad Tea Party.

In college, we studied Alice in one of the many literature classes I took which culminated in my English degree, but I hadn’t re-read the story since then (and I was rather unsure as to whether I had read the text in its entirety then. I had a LOT of reading for my classes. Stuff got skimmed. I have been making the effort to revisit the works that got less of my time in college, and this show was the perfect occasion to revisit Alice).

Having attended many Sol shows and knowing what kind of quality goes into them and armed with my deep love of Alice and my refreshed knowledge of the text – I finished the reread a few hours before show time – I had high hopes for this production.

My hopes were exceeded.

Even with a cast of 22 – very large for a Sol production, there was not a superfluous character. This is the first show that I’ve seen that does not have at least one adult actor, but the poise and professionalism of these child actors makes one forget that they are all school-aged.

The White Rabbit (Noah Fineman) emcees the play. He provides the necessary direction for Alice and sets up the framework for the show.

Eden Wexler opens the play as the iconic Alice. Mandy Feuerman takes on Alice in Act 2, and Zoe Alarcon plays Act 3 Alice, and Jamie Feuerman plays Real World Alice. Each actor delivers a full performance, each endowing Alice with her signature feistiness and sense of wonder.

The Tiger Lily (Olivia Shiver), the Rose (Violet Zeiders), and the Caterpillar (Faith Alfieri) are wonderfully snide in their encounters with Alice, being both helpful and not at all helpful simultaneously.

Samantha Mascaro and Kimberly Wilkinson portray the Cheshire Cat. Having two actors playing the Cheshire Cat solves some obvious staging problems for a cat who disappears at will. These two Cats were mesmerizing.

Tweedle Dum (Natalie Macador) and Tweedle Dee’s (Isabella Welch) recital of the Walrus and the Carpenter is fun and imaginative and another creative way to lose neither the exposition nor the viewer’s attention.

Also of note is the breathtaking way that Jabberwocky is incorporated into the work. To say anything more I fear would spoil what was one of the most pleasant surprises of the show and beautifully in keeping with an aspect of the original text.

As Alice is geared toward a younger audience but engaging and enjoyable for all ages, I was pleased with the ingenious ways of keeping the original texts of these beautiful poems while still keeping the audience engaged.

Chronology of the text is not adhered to – but after all, this is Wonderland and one would not expect to stand on convention. Due to time and space constraints, as well as fanciful events being translated to real life without a Walt Disney budget, some things were rearranged to ease the flow of the production. A very clever device is employed to explain these changes (and perhaps to appeal to the purists, whether they be text, animated Disney, or live-action lovers).

The most crucial element for me would be the Mad Tea Party – after all, it was this segment of Disney’s animated silliness that cemented me as a lover of Alice in Wonderland. I felt like the tea party could make or break this performance for me.

It. Was. Excellent!

I don’t want to give anything away, but The Mad Hatter (Ava Cavasos), The March Hare (Kylie Lawrence), and the Doormouse (Zoe Wexler) remain remarkably in character as the most ridiculous action takes place. Alice, too, should be praised for her ability to act and react to the script and not to the scene.

Cavasos’s Mad Hatter is neither Ed Wynne nor Johnny Depp. Rather, she brings her own charm and madness to the character and is a more accurate reflection of Carroll’s original vision than either of the former. I could watch her as the Mad Hatter all day. Congratulations and thank you for doing beautiful justice to one of my all-time favorite characters!

The Royal Cards (Amalia Hasselman, Alan Hasselman, Violet Zeiders, and Olivia Shiver) play a vital comedic role.

Rylee Siegel is poised and elegant as the Red Queen, Emma Lawrence is hilariously rumpled and frazzled as the White Queen. Brooke Hall expertly plays the Queen of Hearts with a deranged, faraway look in her eye, mercilessly sentencing all she encounters with a beheading. Addison Wexler is a comic treasure as the henpecked King of Hearts. Celia Roberts is a hilarious Duchess channeling rage and madness as well as contempt and apathy.

The play is necessarily wordy, and the actors deliver a tremendous number of lines, often at a rapid pace. Everyone handles their lines swiftly and eloquently.

I have to take a moment to praise set design (Ardean Landhuis and Kate McVay), costume (MJ Baum and Briana Earhart), and make-up (Netta Nicosia). Alice is such a magical story with such a wide variety of interpretations (after all, the text debuted in 1865 and the story has been translated from the page and reimagined for more than a century-and-a-half!) that these three elements are the things that make each new vision of Alice unique. These artistic expressions are so beautiful of their own accord and they only enhance the experience.

Whatever your experience with Alice is, I urge you to come out and see what this company has accomplished. In a black box theatre in about one hour, these youth bring to life a fanciful world full of beloved characters with the grace of pros.

Alice in Wonderland is adapted by Seth Trucks and directed by Trucks and Savannah Rootes. Alice runs from August 10 – 20 at Sol Theatre before moving to Delray Beach Children’s Garden for three special Sunset Garden Performances.

Sol Theatre is a 501(c)(3) corporation that relies on generous donors to continue to carry out its mission of bringing affordable, quality theatre to South Florida and to making theatre accessible and exciting to young people and youth actors. If this production is indicative of Sol's work, then the money invested in this non-profit is well-spent.

Alice in Wonderland
By Lewis Carroll, adapted by Seth Trucks
August 10-20
Tickets: $20/$15 for Juniors (11 and under)
For Tickets: 561-447-8829 / www.solchildren.org
Performances: Thursday, Friday & Saturday at 7 pm / Saturday and Sunday at 2 pm
Sol Theatre
3333 North Federal Highway
Boca Raton, FL 33431


August 24-26
Tickets: $20
For Tickets: Brown Paper Tickets
Performances: Sunset performances Garden Gate to open at 7pm
Delray Beach Children’s Garden
137 SW 2nd Ave
Delray Beach, FL 33444 (US)

Live Theatre Review - Outre Theatre Company's 1984

*THIS REVIEW CONTAINS MILD SPOILERS FOR 1984*

When it was written in 1949, the dystopian world depicted in George Orwell’s 1984 may have seemed far-fetched, but in 2017, every day it seems a little more prophetic. Therefore, Outre Theatre Company’s choice to stage 1984, adapted by Andrew White is both timely and apropos for their inaugural production in its new space at the Pompano Beach Cultural Arts Center.

The stage is simple in terms of set and props – the most eye-catching device are the numerous propaganda posters and photos of “Big Brother.” The modest set allows the actors to use their craft to bring the story to life without relying overmuch on physical things. The technical crew works swiftly and quietly in the background, making transitioning from one scene or setting to another seamless with little distraction.

Director Skye Whitcomb handles troublesome staging hurdles aptly by incorporating a giant screen projecting film to depict flashbacks, internal dialogue, sensitive scenes of sex and violence, and other elements that would be too difficult to portray given the time and space limitations of the stage. The effect is brilliant and keeps the production out of the adults-only realm. The scenes of sex and violence portrayed are tasteful and not too frightening, but the overall tension is palpable.

Frequent costume changes allow the sparse cast to multiply in size as several actors portray secondary characters.

Murphy Hayes shines as Charrington. His manner is charming and invites other characters to open up to him. He is an unassuming, comfortable person to confide in. Peter Wayne Galman brings an austerity to O’Brien in his speech but moreso in just his presence. His costume is a perfect match for his character.

Seth Trucks does an excellent job as Winston. He is unmoved by the 2 Minute’s Hate and portrays obvious distaste for the morbid practices of the party that even children enjoy. Winston’s secretive behavior and curiosity for things that Party members have denounced isolates him from the world he lives in.

When he encounters Julia (Jennipher Murphy) in a special way, suddenly things start to change for Winston. Her rebellious spirit awakens something within him. He thinks he has found a kindred soul and he professes his love to her, but he soon learns that no one is as they seem. Julia’s disregard for rules is self-serving; Murphy gets across Julia’s flippant nature and egocentricity.

With regards the other workers at the Ministry of Truth: Meredith Bartmon is also very convincing as the Party die-hard, Syme. Joey De La Rua (Parsons), Michael Conner (Ampleforth), and Daryl Patrice (Tillotson) provide some much-needed comic relief, but their ultimate fates show their range as actors.

1984 opened on July 13 and runs through July 30. The final four shows are as follows:

Thursday, July 27 @ 8pm
Friday, July 28 @ 8pm
Saturday, July 29 @ 8pm
Sunday, July 30 @ 2pm

Doors open 1 hour before showtime

All shows are at the Pompano Beach Cultural Arts Center, 50 SW 1st Ave, Pompano Beach, FL 33060.

Tickets are as follows: Adults $39 - Students and Industry $19 and can be purchased online or at the Box Office. Make sure to get them fast before they sell out!

Outre Theatre Company is a 501(c) 3 not-for-profit organization and relies on sponsorship from private benefactors and theatregoers. Please help to support them and keep local theatre alive!

All photos (c) 2017 by Shannon Ouellette

Live Theatre Review - Evening Star Production's Waiting for Godot

*THIS REVIEW CONTAINS MILD SPOILERS FOR WAITING FOR GODOT*

Director Rosalie Grant and Evening Star Productions bring theatre of the absurd to Sol Theatre with Samuel Beckett’s remarkable work, Waiting for Godot.

The set was sparse and a beautiful sort of bleak, much mirroring the play itself. The play has only five characters, two of whom perform the titular task of waiting for Godot.

Vladimir, played by Lito Becerra, and Estragon, played by Seth Trucks meet at an undisclosed location near a tree to wait. While they wait, their long relationship unfolds for the audience. Their clothes are tattered and Estragon’s feet suffer from his shoddy boots. Vladimir has health problems tied to his kidneys. Both actors do a tremendous job of selling their maladies. In fact, the physicality of the actors is what sets this play apart from the many performances of it which have come before. The masterful feats of athleticism between them inject comedy into the grim dialogue. The chemistry between Becerra and Trucks is beautiful; Becerra is endearing in Vladimir’s nurturing of his friend and Trucks brings a pathos to Estragon’s dark moods. Their timing as they bounce lines off of each other is impeccable.

The strange duo who come to break up the monotony for Vladimir and Estragon are a mismatched pair. Skye Whitcomb is delightfully despicable as Pozzo, whose fine attire sets him apart from the others. In his company is his slave, Lucky, played by Christopher Mitchell. Again, the nuances of the physical acting of this pair turns what could be a dry play into an engaging performance. Grant must be lauded for her directorial choice and Mitchell must be commended for his endurance.

While some of the bizarre dialogue penned by Beckett is humorous, this cast adds to the humor with their actions and reactions. It is also necessary to mention the way the four of these men portray so much with silence. Some of the most humorous or poignant moments are accomplished with the absence of speech or action. The very stillness evokes the audience reaction. This production is an excellent take on a complex text.

Waiting For Godot runs at Sol Theatre from April 20, 2017 – May 7, 2017.

Tickets are $30 / $20 for students and seniors and are available for the following remaining performances:
Thursday, May 4 @ 8pm
Friday, May 5 @ 8pm
Saturday, May 6 @ 8pm
Sunday, May 7 @ 2pm

All performances are at Sol Theatre, 3333 N. Federal Hwy, Boca Raton, FL 33431

Sol Theatre is a 501(c)(3) corporation that relies on generous donors to continue to carry out its mission of bringing affordable, quality theatre to South Florida and to making theatre accessible and exciting to young people and youth actors.

Photo by Murphy Hayes

Live Theatre Review - Shakespeare Miami's The Merchant of Venice

**CONTAINS SPOILERS FOR THE MERCHANT OF VENICE**
Shakespeare Miami’s The Merchant of Venice, directed by Colleen Stovall and staged as the 2017 free Shakespeare in the Park production, opened on January 6, 2017, in Mizner Park.

The set is rather simple: twin stairs leading to a balcony, but it is all that is necessary to carry the audience to Venice. The more important element of the staging comes in the beautiful costumes, elaborate and artfully designed by Stovall. The “tiring scene” where Portia (Thiana Berrick) is dressed by her maids is a fantastic tool to educate on the intricacies of women’s fashion and the challenges faced by dressing in that time. Nerissa’s (Alexandra Grunberg) dress is lovely, and the way she navigates the stairs in it is both delicate and fierce.

The suitors for Portia’s hand are all finely arrayed, and the costumes for Shylock (Seth Trucks) and Tubal (Christopher Lam) are vibrant and adhere to the custom of Jews being required to wear red to identify themselves at all times.

Although this play is one of Shakespeare’s comedies, the atmosphere of this production is more serious than comedic. As it addresses the very heavy subject matter of prejudice, race relations, and religious persecution, this production seems to downplay all but the most comedic of elements. David Tetteh-Quarshie is remarkable as the Moroccan prince who vies for Portia’s hand. He and Jair Bula as Aragon, the second suitor, provide two of the true comedic performances. The other two are the Gobbos: Launcelot Gobbo (Christian Cooper) and his father Old Gobbo (Seth Trucks), whose farcical performances elicited laughs as well.

The cross-dressing device, which at one time must have been a source of great amusement, is less humorous in our time as women commonly dress “as men” – in trousers instead of dresses. Kudos to this production for not camping it up with false facial hair and the like when Portia, Nerissa, and Jessica (Devin Tupler) all pose as men in order to get away with something.

Due to the timing within the play, the first half seems a bit long, but the second half speeds through following the brief intermission.

The trial is well-staged, a clear division between loyalties. You love to hate Gratiano (Arturo Sierra) at his treatment of Shylock after the Jew gets his “justice.”

The character of Shylock is well portrayed though this staging – Shylock is not a good person, but that has nothing to do with his faith. The treatment he is dealt from the opening scene to the closing gives fair explanation of why a person could become like him. And when Trucks deals Shylock’s famous speech – “Hath not a Jew eyes?...” sympathy grows for Shylock such that you are disappointed by the “justice” he receives.

Shakespeare Miami wraps up in Mizner tonight at 6:00 then takes the show on the road for the next three weekends:


COCONUT GROVE - The Barnacle Historic State Park JANUARY 13, 14, 15- 2017

PINECREST - Pinecrest Gardens Shakespeare Stage JANUARY 20, 21 & 22- 2017

HOLLYWOOD - The ArtsPark Amphitheater JANUARY 27 & 28- 2017


Come out, enjoy a night of culture with your entire family (but leave the pets at home, please!), and don’t forget to tip your actors. Shakespeare Miami operates off of the donations of its patrons.

From the website: Shakespeare Miami is a regional non-profit theater company dedicated to live performance of the works of William Shakespeare. The mission of Shakespeare Miami is to promote literacy, culture and a passion for the arts through free performances of the works of William Shakespeare.

The Cost of a family attending a cultural event together has become prohibitively expensive for the average family in America. Schools have cut arts programming and field trips to see live performances. Often, the first live theatrical production a family in South Florida attends is a free Shakespeare in the Park Event.

Live Theatre Review: Evening Star Production's A Midsummer Night's Dream

Last night I attended Evening Star Production’s opening night presentation of A Midsummer Night’s Dream at Sol Theatre. Adapted and directed by Seth Trucks, it is the inaugural show in Sol’s new Shakespeare Initiative, a seed that was planted two years ago and has been lovingly cared for in minute detail, culminating in this vibrant offering to the theatre gods.

This show was initially intended to be directed by the late Laura Ruchala, whose life was tragically cut short just after her 36th birthday. Trucks, in his pre-show oration last night, advised that in one of the last conversations he had with Ruchala they discussed how Shakespeare lends itself to innovation and interpretation and how it should be adapted and retold in new and exciting ways. The first show I attended at Sol Theatre was Ruchala’s adaptation of The Comedy of Errors – starring Trucks as the twin Antipholus’ - which was creative and imaginative, literally out-of-the-box thinking. Ruchala passed away just before her show’s run began and the mantle to carry on the Shakespeare Initiative fell to Trucks. From what I saw of Ruchala’s directorial vision in The Comedy of Errors, what he has done with it would have pleased her endlessly.

This production of A Midsummer Night’s Dream is described by Trucks as Shakespeare done in the style of a John Hughes film. Enter the 80s.

It is set in Athens High School, and even the lobby of Sol Theatre is dressed for the occasion. The guest book that is usually out front has been replaced by a notebook paper “Slam Book” in which theatregoers can write their thoughts about the show. The program is set up similar to a yearbook. No detail has been overlooked.

As did The Comedy of Errors, Midsummer begins in an external story and then magically slips into Shakespeare’s world. This play goes farther still with a beautifully shot expositive video that sets up the pre-Shakespearean scene.

Though the play is a comedy and at times this production is farcical and it is absolutely funny, it also is a very deep and moving production, and the youth cast draws emotions beautifully. You can feel the lovers’ hearts breaking when spurned by their respective suitors. You can feel the jealous ire aroused in the fight between Hermia (Emma Lawrence) and Helena (Chloe Ward) and the territorialism of Demetrius (Ryan Siegel) and Lysandra (Kayla Asouti). The angst of the teenage condition is expertly portrayed in Francis Flute (Isabella Welch) and Robin Goodfellow, better known as Puck (Francis Alfieri). Puck’s orchestrations of the emotions of the Athenians is also very reflective of the high school experience.

The Misfits are wonderful comic relief in their play-within-the-play: the tremulous Wall / Kim Snout (Kate Finkelstein), the insecure Lion / Snug (Noah Fineman), the anarchist Moon / Robin Starvling (Natalie Macadar) the apathetic Thisbe / Francis Flute (Welch), and the over-the-top-enthusiastic Pyramus / Nikki Bottom (Rylee Siegel), handled by their poor, put-upon stage manager, Penny Quince (Emma McAvoy). Their production meetings are very funny, but their execution of Pyramus and Thisbe is side-splitting.

I have to pay tribute to the gorgeous choreography by Sara Grant, beautifully executed by the Fairies: Peaseblossom (Brooke Hall), Cobweb (Zoe Alarcon), Moth (Sami Mascaro) and the adorable little aptly-named Mustardseed (Eden Wexler). The fairies (and their dancing) play such an important part in bringing the magic of this production to light. Their performance was extremely moving.

Also well-choreographed is the Benny-Hill type chase scene that pays homage to Ruchala’s Comedy.

The only adult cast members have dual roles – Cindy Thagard plays both Hermia’s mother and Titania, and Justin Schneyer plays Hermia’s father and Oberon. The original play is changed so that the dual-role element is meant to be apparent, the conflict between the two pairs carrying over from the pre-Shakespearean world to the fairyland.

I have to note how beautifully the elements of same-sex relationships are completely glossed over, no attention brought to them. As they should be.

The final, living, breathing member of the cast is the set itself, which is painstakingly dedicated to serving the play. Every little element is perfectly placed so that the transition from location to location is not only believable but enthusiastically brought. To say more would be to give too much away, but I do have to praise Kate McVay’s scenic art because when the play was over, I was compelled to go and inspect the painted rug for about five minutes for its utter beauty.

Costume, particularly in a play set in the 80s, is also an important element. Thankfully, these youth were spared from some of the more hideous choices 80s kids made, but side ponytails, suspenders, headbands, leotards, and sweater vests all made an appearance. The Philostrates (Kylie Lawrence, Megan Mascaro, and Zoe Wexler) double as theatre ushers in their Girl Scout uniforms.

As this blog originated as a music blog, I would be remiss if I failed to mention the perfect music choices that are incorporated throughout the show. Songs from A-ha, The Police, Cyndi Lauper, Peter Gabriel, Talking Heads, Star Wars, Wham!, and OMD are not only played but expertly curated into the show. “Careless Whisper” is hilariously utilized. The scene where “In Your Eyes” plays had me literally weeping with the beauty of it all. “Take on Me” was used so cleverly that I fear an element of song choice might be lost on some audience members falling too far outside of the bubble of the 80s. But when “And She Was” played, I was stunned. Clearly as much loving care was used in selecting the soundtrack as was in adapting the play itself.

Every person who had a hand in bringing this beautiful work to life should be proud of what they have accomplished. It was worth the year’s wait to see what this play has become.

Sol Theatre is a 501(c)(3) corporation that relies on generous donors to continue to carry out its mission of bringing affordable, quality theatre to South Florida and to making theatre accessible and exciting to young people and youth actors. One such recent donation was an upgrade of seating in the theatre, so now everyone can sit in comfort as they enjoy this midsummer night’s dream.

A Midsummer Night’s Dream
By William Shakespeare
August 5 – 21
Tickets: $20/$10 for Students
For Tickets: 561-447-8829 / www.eveningstarproductions.org
Performances: Friday & Saturday at 8 pm / Sunday at 2 pm
Sol Theatre
3333 North Federal Highway
Boca Raton, FL 33431

photos by Murphy Hayes

Live Theatre Review: Evening Star Production's Complete Works of William Shakespeare (Abridged) (Revised)

Evening Star Productions presents The Complete Works of William Shakespeare (abridged)[revised], directed by Savannah Rootes (a "Solster" in her directorial debut).

Edward Scott, Seth Trucks, and Alex Weiss take on the ambitious task of presenting all 37 of the Bard's plays in under 2 hours - and they succeed with gusto! Granted, some of the plays are seriously abridged, but the manner in which this is accomplished will have you gasping for breath! Skip the abs workout and see this show with the same results!

The trio makes the most out of the small space of the theatre and some limited props to represent over 1000 characters in 97 minutes. The presentation of the tragedies is as funny as that of the comedies, and the histories are presented in a fresh, clever, and surprisingly apt way.

Expect to participate, but no prior knowledge of Shakespeare is necessary to enjoy the show (although during the presentation of the comedies, a little familiarity with the works is helpful - the more knowledge of the comedies you have, the more you'll get the subtle jokes, but the obvious ones are plentiful enough for someone with even zero knowledge of the plays.)

Complete Works sets out to demonstrate that Shakespeare is not just for the mature and the literati - everyone at every level and every age can enjoy Shakespeare. And anyone who attends this riotous play is sure to walk away with a fresh appreciation of the Bard.

The Complete Works of William Shakespeare (abridged)[revised] will run from June 17 – 26 at Sol Theatre in Boca Raton, FL. Tickets are $15 and $10 for students. Group rates are also available. Tickets are on sale now, and can be purchased by calling 561-447-8829 or online at Evening Star Productions.

New Music Review: Alex Cuba - Healer

Even the most monolingual of listeners will understand two things from Alex Cuba’s Healer: joy and love.

Healer is Alex’s 5th studio album, removed from his first by three Latin Grammys, two Junos, and a 2011 Grammy nomination for Best Latin Pop Album.

The album clearly states its theme with the opening track, “Vale Todo” (“Anything Goes”) – differences are to be celebrated, especially in love. The song title can be translated more literally to mean “everything is worthy,” and it is this mindset that charges the songs on this aptly named album.

In contrast to his last album, Ruido En El Sistema, which was uncharacteristically mellow-towards-melancholy, Healer remains upbeat and toe-tappingly quick throughout 10 of its 12 tracks. “Ni Forma Ni Colores,” arguably one of the best tracks on the album, is impossible to sit still through, with both the sound and the sentiment ample reason to dance in joy.

One of the remainder songs is possibly the best showcase of Alex’s vocal strength – the beautiful confessional ballad “Contigo” features very subdued instruments and is carried entirely by his powerful croon.

The crown jewel, though, has to be “Sarah,” the lovely ode to Alex’s wife which contains one of the loveliest ideas: “in you, I found everything, and nothing is lost / missing.”

The album is populated with 5 bilingual tracks, each featuring one of 5 talents: David Myles, Alejandra Ribera, Kuba Oms, Ron Sexsmith, and Anya Marina (all but the latter of whom are fellow Canadians). Ron Sexsmith appears on Alex’s first album on “Lo Mismo Que Yo (If Only).”

Healer was crowd-funded on PledgeMusic beginning in November of 2014, and released on March 31, 2015, with a general release one week later. Alex, who was born in Artemisa, Cuba, but makes his home in Smithers, British Columbia, used the crowd-sourcing platform to simultaneously raise funds for SkeenaWild Conservation Trust, an organization which is focused on sustainability of the wild salmon ecosystem in BC, Canada.

Healer won a Latin Grammy for Best Singer-Songwriter Album in 2015, and was nominated for a 2016 Grammy Award in the Best Latin Pop Album category.

Alex’s well-received message is that in love, everything is important and anything goes.


Alex is currently working on a documentary called The Cuban Bus, to be released at a soon-to-be announced future date.

The music video for “Sarah” is available here.



Healer is available from:
Alex Cuba's Official Website
Amazon (stream with Prime)
iTunes

Listen to Alex Cuba on Spotify and Pandora.

Follow Alex Cuba on:
Facebook
Twitter
Instagram
Vine
iamalexcuba on Snapchat

Live Theatre Review: Evening Star Production's The Rocky Horror Show

If you live under a rock like I do and you’ve never seen Rocky Horror Show before, then the Evening Star Production at Infinite Abyss Theatre directed by Rosalie Grant is the production to see. You will be marked a virgin (a red lipstick V on your forehead) and you will be “initiated” (don’t worry, it was fun and no one bothers your bits) before the show can begin.

This production is a steampunk take on things, which means enviably beautiful costumes, especially Columbia (Ireland Glennon) and Magenta (Cindy Thagard) and cogwheel décor on the set (look at the gorgeous clock behind the couch!)

If there is a collective term to describe the cast, it’s SEXY. Every actor exudes beauty and confidence and just draws you in to their den of iniquity.

I won’t give up too much about the production details (even if you’re not a Virgin, you should check out the staging for yourself), but listen carefully when Riff Raff (Christian Cooper) sings – it’s beautiful. Pay close attention to Frank-n-Furter’s (Dominick J. Daniel) entrance and first scene – he moves with the elegance of Eddie Izzard in his seriously hot boots. Don’t be afraid to glance around at the other actors when one is speaking or you’ll miss great little background details – especially when the action is on the screen. Don’t miss the narrator’s (Seth Trucks) time on the couch.

I will say that this show is NC-17 : NOT for kids or for the sexually feint at heart. If you’re prudish, you might want to see a different show - this one gets raunchy, but it’s tastefully handled.

Make sure you pick up a prop bag from concessions (no outside props are allowed, please). Don’t worry, fellow Virgins – instructions on when to use the props are printed in your program. Better still, spend the extra $10 for the VIP seating and the prop bag is included, you get guaranteed front-row seating, and you will be allowed to dance the Time Warp onstage with the cast at the end of the show.

The Rocky Horror Show runs from May 12 – 28, with special midnight shows on the 14th and the 21st. Thursday, Friday & Saturday shows are at 8 PM. Tickets are $35 and $45 for VIP (limited to 14 a night!)

“Freaky, funky costumes and audience callbacks encouraged!”

The Abyss Stage & Studio, 2304 N Dixie Hwy, Wilton Manors, Florida 33305

Tickets available at the eveningstarproductions.org at infinite-abyss.org.


Graphic design by Murphy Hayes

Live Theatre Review: Sol Children's Theatre's Thumbelina

Sol Children’s Theatre presents Thumbelina, adapted from the Hans Christian Andersen tale by Wade Bradford, running from August 27 – September 6, Thursdays through Sundays at 7pm with a 2pm matinee on the weekends. Thumbelina tells the story of a childless woman whose wish to become a mother is granted by a faerie.

I absolutely loved the way director Christopher Mitchell worked around the logistical problem of difference of size between Thumbelina and the magical characters’ world and that of the humans that share the stage with them. Since there is no cinematic magic available, the characters each work half of the stage, playing up or down to each other in a clever fix.

The cast is downright adorable, and a large part of the show is just ooo-ing and aaaah-ing at these cute little actors. However, despite their tender ages, this isn’t an amateurish play. These kids know what they are doing and they are quite good at it. They have excellent rhythm and elocution that often goes amiss in productions by much older actors.

Brooke Hall is a lovely Thumbelina, showcasing her talents of song and dance. She shows great poise while playing a timid but eager character.

Her human mother, played by Denise Michelle, conquers her logistically-challenged role with equanimity. Though she scarcely gets to play off another characters, she emotes just as if she was speaking directly to her “little” co-stars.

Some of the children play dual or triple roles. Eden Wexler is a spunky little firecracker, especially as a baby mouse, and Addison Wexler charms in her matriarchal roles.

Addison is not the only actor playing against type; Austin Stein is a suave, elderly mole whose kindness to Thumbelina has suspicious origins.

Murphy Hayes is great as Uncle Jack the field mouse, the crotchety counterpart to Thumbelina’s optimist.

There is much comedy in this show – at times the audience laughter caused me to miss some of the actors’ lines. Isabella Welch has a great role as a caterpillar coming to terms with puberty which she executes hilariously. The couple of times when the actors break the invisible “fourth wall,” it enriches rather than detracts from the play.

Costume design (Ember Everett) and makeup (Christopher Lam & Elizabeth Condon) are beautiful artistic elements of this show: Zoe Alarcon’s elegantly-played black widow and Samantha Mascaro’s “chirpy” sparrow are both enhanced by these.

I am always in awe of the beautiful artwork (Kate McVay) that is created for the backdrop of Sol’s productions. Thumbelina is no exception; a verdant mural serves to create the setting, and the cobblestone path encountered along the journey is worth a closer look after the show.

In short, I highly recommend this play for all ages – the little theatre-goers have a special pint-sized front row just for them. At only approximately 60 minutes with no intermission, the play is timed perfectly with scene changes to keep younger viewers engaged and more mature audience members enchanted.

Sol Children's Theatre is located at 3333 N. Federal Highway, Boca Raton, FL 33431. Tickets for future performances can be purchased here.

Sol Children's Theatre is a 501(c)(3) corporation and would benefit greatly with your tax-deductible support, all of which is invested right back into providing quality theatre entertainment for the community.

Live Theatre Review: Evening Star Production's BUG

Director Rosalie Grant makes excellent use of the intimate space at the Infinite Abyss of Wilton Manors with her production of Tracy Letts’s BUG. The stage is busy, but not distractingly so, with props that tell as much of a story about the characters and their lives as the action does. Lighting and soundtrack are also well-placed, important elements of the story.

Set in a seedy motel in Oklahoma, the play opens on a dysfunctional note that will set the tone for the entire show. The harried Agnes (Erynn Dalton), who is haunted by her past, is soon introduced through her friend RC (Rachel Finley) to someone who will change her future.

Todd Bruno is inspired as the mysterious stranger, Peter Evans, who is endearingly awkward. Peter captures the audience from the first moment he’s onstage, and his bookishness is oddly charming. Todd remains true to the character as he evolves from act to act.

The chemistry between Agnes and Goss (Dominick Daniel) is corrosive and his character is as despicable as Evans is winsome.

Though the play is dark and macabre, it is broken up by some scripted as well as more subtle, visual, humor.

Tonight is your last chance to catch the don’t–miss BUG. Evening Star Production performs its final show on Saturday, August 29 at 8pm.

May be inappropriate for young audiences because of violence, drug use, and nudity.

Get your tickets here or at the door: Infinite Abyss, 2304 N. Dixie Highway, Wilton Manors FL.

Relevant music reference:

I heard Dwight Yoakum, Brooks and Dunn, Chris Isaak, and some Johnny Cash.

Live Theatre Review: Palm Beach Shakespeare Festival's Hamlet

WARNING: This review contains spoilers regarding both Hamlet in general and this production in specific

Palm Beach Shakespeare Festival’s production of Hamlet marks the 25th anniversary of the festival. The production is a break from the traditional with the original play abridged to roughly half its running time at just over two hours. It also sets the play in modern times, which means cell phones, selfies, and firearms. Additionally, Laertes (Krys Parker), Rosenkrantz (Kelly Ainsworth), and Guildenstern (Courtney Poston) are all female characters, with the latter pair portrayed as part of the stereotypical self-obsessed youth culture to a very comical effect.

Kyle Schnack as Hamlet brings an energy to the Prince of Denmark, playing off the audience with a quick wit. He even shows off his own crest tattoo, as the actor is of Danish descent. Darryl Willis is delightful as the tedious Polonius, such that one is almost sorry that he meets his tragic end. Carly Lopez stuns with her portrayal of Ophelia’s betrayal, heartbreak, and descent into madness. She captures the heartstrings even posthumously as her sister Laertes laments her passing.

The character of Horatio, played by Seth Trucks, plays a pinnacle role in this production, a point emphasized by his costume. The majority of the residents of Elsinore are clad in white, while those outside – and perhaps, symbolically, in opposition to them – are dressed in black. Hamlet bears the funereal color as he continues to mourn his father’s death (thus visually serving as an antagonist to his uncle the king) as do the grave digger and the players who unveil the king with their play-within-a-play. Those whose loyalties are possibly divided are clad in black and white, but only Horatio and Old Hamlet’s ghost (Zach Myers) wear gray, perhaps suggesting that it is Horatio’s role to serve as the bridge between Hamlet and his father, between conflict and resolution. The play opens and closes on Horatio and what he sees and he spends much of the play as the quiet observer, sussing out the motives of all around him. He is the one to bring the news to Hamlet of his father’s ghostly unrest and the one left behind, charged to go forth and tell the story of the events as they unfolded. Horatio, dressed in gray, is chosen to be the middle ground between the black and the white.

For such an abridged version of Hamlet, director Trent Stephens has crafted an excellent theatre experience, filled with comic relief (albeit some unintentional – the line “It’s cold” generally gets a chuckle from the sweaty audience). This Hamlet is a show worthy of being watched again and again.

Hamlet runs at the Seabreeze Amphitheatre at Carlin Park in Jupiter, FL, Thursday-Sunday, July 9 – 19. Gates at 6:30, show at 8:00. This is an outdoor festival, so bring camp chairs or a blanket, your picnic, bug spray, sunscreen, emergency rain ponchos, and your well-behaved pets and young people, if so inclined. Arrive early enough and you can even have the grave digger recite you a sonnet for the reasonable price of $5 with bonus Yorick accompaniment. Also, this is a free show, but your suggested donation of $5 is the lifeblood of the program and wonderful events such as this depend on your patronage, so bring your wallet and give freely to support the arts!

Finally, as this is technically a music blog, I must note that the soundtrack to the show is dynamic and addicting (I’ll admit to having purchased all the songs I could identify) and even the before, after, and intermission music is amazing.

Woodkid
Lena Fayre
Lorde
Emily Browning
Audioslave
Imagine Dragons

Union Hall Song Club: Featured Artist - Chris Michael 3/30/15

Monday nights, head on over to the Park Slope area of Brooklyn to experience the Union Hall Song Club presented by Big City Folk. Every Monday at 9pm, an eclectic group of performers take the stage (in the downstairs music club of the quaint Union Hall) for a couple of songs each, sandwiching a “Featured act” who plays a full set.

For no cover charge, you are treated to a number of local talents sampling their wares and a full show of one artist, a new one chosen weekly.

This is not an open mic night – each of the artists performing has been screened and selected for your listening pleasure.

This Monday, March 30, 2015, a new favorite of mine, Chris Michael, will be the featured artist. Chris lives and performs in New York City, but originally hails from North Carolina and has that beautiful southern soul ingrained in his voice. He sings with a presence that far outweighs his age and his original songs range from fun and silly to thought-provoking to plain outrageous.

Since seeing him perform at The Scratcher Bar earlier this month, I have listened to little else. Watch Chris perform a heart-wrenching cover of Randy Newman’s “Louisiana 1927” from that night.


Chris is working on his debut album, but he has several recordings available (for Free!) on his Bandcamp page. Head on over there and check him out and then go to the Union Hall Song Club on this Monday to see Chris and come back every Monday for a new featured act and a handful of great artists besides!

On April 6th, Niall Connolly (who is the founder of the Union Hall Song Club and hosts the event when not touring as he currently is) features with his band (with Len Monachello, Brandon Wilde and Chris Foley).

Artists may email bigcityfolk[at]gmail.com to apply to play.

Union Hall - Brooklyn
702 Union Street
Brooklyn, NY, 11215
(718) 638-4400
info[at]unionhallny.com
http://www.unionhallny.com/

Chris Michael may be found on:
Bandcamp
Soundcloud
Twitter: @EatThatGuitar
WordPress

Niall Connolly may be found on:
NiallConnolly.com
CD Baby
Bandcamp
Reverb Nation

Big City Folk may be found on:
Twitter: @BigCityFolk
Reverb Nation