#theatrereviews

[raymondhelkio]

Pervatory

[519magazine]

The Book of Mormon Musical Might Be The Funniest Thing Ever Written - Hello. My name is Critic Dan, and I would like to share with you some thoughts on the national tour of “The Book of Mormon”, which stopped at the Star... - https://519magazine.com/the-book-of-mormon-musical-might-be-the-funniest-thing-ever-written/?feed_id=2224&_unique_id=64234a6e9c0fa

[steelcityreviews]

REVIEW: A Hilarious and Heart-Felt Look at Family Dynamics at Dundas Little Theatre's GRAND HORIZONS

It’s out with the old and in with the new at Dundas Little Theatre with the company’s selection for their January production. A modern day set (an extremely clever design by Graham Clements and crew) filled with boxes, knick-knacks and a homey, lived in feel greets an eager matinee audience as we discover the joys and pathos of every day life as partners, parents and, quite simply, human beings in Bess Wohl’s Tony-nominated comedy Grand Horizons.

Over a quiet dinner for two, performed with a cheeky choreographed ballet underscore, Bill (an energetic, engaging performance from Michael Hannigan) and Nancy (portrayed by the captivating Ruth Flynn) matter-of-factly decide to divorce after fifty years of marriage. While Nancy feels liberated and Bill seems unfazed, their adult sons Brian and Ben (equally strong performances from Jared Lenover and Bryan Fotheringham respectively) do not take the news well. As the “kids” descend on the Grand Horizons senior living community to mediate the situation, everything they thought they knew about their parents is hilariously demystified.

The entire cast excels in their roles and have been carefully directed by Ryan Trepanier and David Faulkner-Rundle. Both of these directors have deep insight into family dynamics because even at the play’s most emotionally uncomfortable parts, we care for this family and hopefully, find it within us as an audience to understand and relate to their anger, denial and eventually, acceptance. The play is staged well with brief moments of stagnation still feeling purposeful. There is a scene where you could legitimately cut the tension with the butter knife that Nancy holds. You feel a sense of emotional claustrophobia even in such a large physical space. It is very impressive directing from both. It must also be mentioned that the crew deserves high praise during intermission with a complete set changeover done within minutes. It is fascinating to watch should you choose to do so!

The cast itself is delightful to watch with very few hiccups. Each character is faced with less than ideal truths about themselves and their partners (or lack thereof). Michael Hannigan and Ruth Flynn embody this realistic couple going through the motions of a marriage that is less about being in love and more being beholden to one another. They are incredible together; both extremely earnest and captivating throughout.

Jared Lenover (Brian) and Bryan Fotheringham (Ben) command the stage as the sons. Their character’s personalities are vastly different which creates great tension between them. One is deeply focused on the anxieties that come with taking care of everyone while the other faces the insecurities of not being taken care of enough. They run a gauntlet of emotions throughout and their energy never wavers. It is truly impressive work as actors to embody unlikable characters that you still feel empathy for. No easy feat.

Newcomer Katie Ribout is exasperated perfection as Jess, the wife and expectant mother of Ben’s child. She is the mediator, the outsider looking in and this is a character we need to wake this family up regarding their actions. This is especially shown in the second act where her feisty frustration of wanting to be more than a pet name and soon-to-be mom shines brightest.

Rounding out the cast are Michael Adebo as Tommy; a seductive but no nonsense hookup with some great harsh truths about relationships and Bev Mattson as a quirky and free-spirited Carla who gained some of the loudest laughs of the afternoon.

Equal parts laugh out loud funny and deeply heart-felt, this production of Grand Horizons and its commentary on marriage, family, and accepting that change is often painful but necessary, is theatre at its most enjoyable and familiar. Don���t miss it.

For tickets and more information, please visit:

DUNDAS LITTLE THEATRE BOX OFFICE

Rehearsal photos by: Keith Sharp

[succinctscrutiny]

Back to the Future - The Musical

Birthdays are a great excuse to go to theatre, and this one was worth the trip. The songs weren't all that memorable compared to some other shows, but the cast is great. The sets and production are where it really shines and the finale is up there with the chandelier drop from Phantom. 

Would recommend.

[suzie81blog]

Press Review: Dreamgirls at The Alexandra Theatre

Press Review: Dreamgirls at The Alexandra Theatre

⭐️ ⭐️ ⭐️ ⭐️ ⭐️ Finally arriving on stage two years after their 2020 performance was cancelled, Dreamgirls has hit the stage at the Alexandra Theatre for their Christmas run, and it was worth the wait.   I was lucky enough to experience a press preview of some of the main cast a little while ago and expectations were high, but nothing quite prepared me for the glitz and glamour that unfolded on…

[lovebooksgroup]

Blue Man Group - Bluevolution World Tour Thu 10 to Sun 13 Oct 2024 🎭 @captheatres #Theatrereview #WhatsonEdi #Edinburgh #Theatre #Arts

Blue Man Group – Bluevolution World Tour Thu 10 to Sun 13 Oct 2024 Blue Man Group – Bluevolution World Tour: A Unique, Fun-Filled Spectacle⭐⭐⭐⭐ The Blue Man Group is back in the UK with its Bluevolution World Tour, and it’s an exciting, fun-packed experience that delights audiences of all ages. This 90-minute show is filled with the quirky, playful energy that the Blue Man Group is famous for,…

[otakunoculture]

When New Wave Your Behaviour Is Better Than Strangling It at the Victoria Fringe

@IntrepidTheatre has a lot of semi autobiographical #yyjfringe type shows, and New Wave Your Behaviour is perhaps the most entertaining because there's #music! #fringe #theatrereview at:

Hamilton7 Tor Lukasik-Foss is a performer who has issues, and when he transforms his feelings into an act simply titled New Wave Your Behaviour, I’m sure many people can relate. In this show, his character is having more than just your average mid-life crisis. In fact, he’s diagnosed with a Dissociative disorder. It’s become troublesome enough where he’s been “discharged” from work until he can…

[frazerbrown-producer]

Had an amazing night at Guys and Dolls at the Bridge Theatre. It was wonderful catching up with old friends from Wall Street to Walton and meeting so many new friends. Having so many finance, PR, and entrepreneurial buddies from around the world in one place was truly a blessing. I loved every minute.

I can’t recommend the show enough! It has always been a favorite (my father-in-law played Sky Masterson alongside Bob Hoskins and Bernard Cribbins at the National). This version was spectacular—see it before it ends and make sure you stand in the pit! And stay for the dance-off!

🎼 Sit down, you’re rocking the boat!

All videos were taken before the show, during the interval, and after.

#Theatre #Theater #LiveTheatre #LiveTheater #Broadway #OffBroadway #WestEnd #MusicalTheatre #MusicalTheater #Play #Playwright #Stage #Drama #Comedy #Tragedy #TheatreLife #TheatreLove #TheatreKid #TheatreNerd #TheatreGeeks #TheatreCommunity #TheatreProduction #TheatreSchool #TheatreClass #TheatrePerformance #TheatreArts #Acting #Actor #Actress

#Theatre #Theater #LiveTheatre #LiveTheater #Broadway #OffBroadway #WestEnd #MusicalTheatre #MusicalTheater #Play #Playwright #Stage #Drama #Comedy #Tragedy #TheatreLife #TheatreLove #TheatreKid #TheatreNerd #TheatreGeeks #TheatreCommunity #TheatreProduction #TheatreSchool #TheatreClass #TheatrePerformance #TheatreArts #Acting #Actor #Actress #Director #StageManager #SetDesign #CostumeDesign #LightingDesign #SoundDesign #PropDesign #Dance #Choreography #Casting #Rehearsal #OpeningNight #CurtainCall #StandingOvation #TheatreFestival #CommunityTheatre #AmateurDramatics #StudentTheatre #TheatreHistory #TheatreCritics #TheatreReview #theatre #producer #film #comics #books #charity #director #filmproducer #redcabincomics #talesfromthequarantine

[fromhouseleft]

The hardest working actor in London

Only Simon Russel Beale would use his break between doing the epic 3-hour Lehman Trilogy at the National Theatre and taking it to New York with the equally large and complicated title role in King Richard II opening officially on Tuesday at the Almeida.

Luckily for Beale, director Joe Hill-Gibbins has condensed the rarely produced Shakespearean History to a swift hour forty minute one act, but I doubt many of Richard’s lines were cut and like the Lehman Trilogy, Beale (and the entire cast) are on stage from start to finish. And if you think things ended badly for the Lehman brothers, just wait to you see the literal and metaphorical filth thrown at Richard. I don’t want to spoil anything but let’s just say you have to wonder why Beale signed up for something like this on his vacation.

Set in a claustrophobic cube or cell, the set is blank save six buckets: two of water, two of soil,  and two of blood. The actors—an ensemble of seven playing close to twenty characters—also wear unremarkable clothing except for a pair of a gardening gloves that may or may not symbolize a weapon. Yes, Hill-Gibbins goes a bit overboard emphasizing the gardening motif that already stomps through Shakespeare’s especially poetic lines, but he can be forgiven this one faux pas because the rest of his direction is inspiring.

Despite the lack of set, he does an astounding job using the three walls and the floor as dynamic elements in the action. As the actors never leave the stage, they too become pawns or tools for the others to hide behind or manipulate. Often when one character is referring to another, the same actor plays both adding a unique level of metatheatricality that keeps the play relevant. In a feat of choreography, Hill-Gibbins points to the eventuality of any ruler’s demise.

Despite his attempts to keep the events universal, it can still be difficult to keep track of the intricacies of English political history. However, like most of Shakespeare, the plot is almost secondary to the language. One of only four plays in the Canon written completely in verse, many of the speeches are stunning and to have someone like Beale utter them is a pleasure.

The rest of the cast is good but none can live up to Beale’s zeal as a performer. Leo Bill, as Bolingbroke and the only other actor not playing multiple characters, offers a nuanced performance as the future Henry IV, but he can’t even match Beale. Despite the tragedy, weakness and narcissism embedded in Richard’s character, Beale is one of those rare actors that manages to bring joy to any role he plays. Whatever you think of Richard II’s comparative quality to Shakespeare’s more famous works, it’s worth it to see superb acting up close.

[henryskat2014]

After a few #jetpilots and #rumpunch at @beatonebar #beatonerussellstreet we grabbed some last minute tickets to see @playgoeswrong. If you haven't seen it..you must. It was absolutely hilarious from beginning to end. Well played by the actors, especially @rossgreenactor 's fantastic improv skills even with my well placed panto heckle! It is comedic genius...you will not be disappointed!! #theatrekid #theplaythatgoeswrong #londontheatre #theatrereviews #londonshows #theduchesstheatre #dateday #datenight #comedy #greatday (at Duchess Theatre) https://www.instagram.com/p/B7e6o37JNRA/?igshid=dqunbjvzqk1a

[terenceleclere]

💥 The reviews are in! Only a few chances left to catch this guy as the comedic over the top tall oversexed drunken French party boy! 🎟: @theunmarkeddoor 📸: @destinypetrel 📰: @becomeimmersed @media_geeks @officialbroadwayworld 🥃🇫🇷🇩🇪💥 #immersivetheatre #lathtr #immersiveexperience #crimsoncabaret #immersiveinteractive #playabletheatre #spystuff #interactive #cabaret #theatrereviews #overthetop #comedy #french #tall #oversexed #partyboy #liveevent #nye (at Los Angeles, California) https://www.instagram.com/p/B6T4UNrJzuc/?igshid=19uzwvscqizbz

[raymondhelkio]

Jono Pye's Digital Showcase

Rob Wilkes, the creative genius behind the design of Jono Pye’s artist website, has woven a visual tapestry that serves as an exquisite backdrop to Pye’s diverse and captivating portfolio.Welcome to the digital showcase where Pye’s creations come alive, each stroke and pixel unveiling the story behind his diverse artistic journey. One highlight of the site is Jono Pye’s Artist’s Statement, a…

[519magazine]

University Players Twelfth Night Has Greatness Thrust Upon It - University Players closes the 2022-2023 season with a performance of Shakespeare’s Twelfth Night, taking place on Brighton Beach in the Victorian era,... - https://519magazine.com/university-players-twelfth-night-has-greatness-thrust-upon-it/?feed_id=2190&_unique_id=6423062b4c9ec

[iosaturnalia]

You heard it here, folks. I’m marvelous in the part of the pirate maid Ruth. Adding it to the list of the testimonial adjectives. ❤️☠️💋 #theatrereview #piratesofpenzance (at Hillcrest Center for the Arts) https://www.instagram.com/p/CU_-TG9r3gL/?utm_medium=tumblr

[brothermarc7theatre]

“Head Over Heels” show #816

A couple of years ago, Head Over Heels received its pre-Broadway run in San Francisco and I was tempted to see it. However, in those pre-COVID days, free time was near-non-existent, so I chose to simply wait to see it, knowing it was headed to Broadway. In the 2018-2019 season it opened and, unfortunately, closed before my annual NYC trip, but I feared not. I remember telling whomever would listen, “I’m good; I know Selma’s gonna do it.” I was right, and I am happy that Selma Arts Center’s production, helmed by Michael Christopher Flores, was my first time seeing The Go-Go’s done theatrically. A production that is perfectly-suited for an outdoor venue, Selma’s Head Over Heels is the right dose of post(ish)-pandemic musical medicine we’ve been craving.

Loosely based on 16th century’s The Countess of Pembroke’s Arcadia by Sir Philip Sydney, the music of the Go-Go’s meets literature in the style of your basic jukebox musical. All the foundations are there: multiple love stories, mistaken identities/misunderstandings, a nerdy guy ya’ love to root for, and lots of dancing. Where Head Over Heels rises above most is that audiences aren’t wading through scenes just to get to the next song. Rather, the songs complement the depth of the character’s emotion(s), and, at times, forward the plot. Head Over Heels’ weakness is that its book, originally conceived by Jeff Whitty and then James Magruder, does nearly nothing to serve the production as a whole. And unless you’re a diehard fan of The Go-Go’s, you probably know about four-and-a-half of their hits, and you will find yourself muttering, “Oh! I didn’t know The Go-Go’s sang that!” However, in the exceptional hands of Flores’ direction and choreography, and Mindy Ramos’ stellar vocal direction, this production rises above the material in a way that will have you getting the beat from the show’s opening moments.

Flores astutely makes the show’s jokes and love plots clear, allowing the few gems in the book to come through to audiences. Where Flores’ direction shines is how he calibrates a heightened delivery of the scenes while taking the songs seriously, whether they be seriously-fun, seriously-romantic, seriously-comedic, etc. Troy Sloan delivers an affable Musidorus/Cleophila, whose fluid allure becomes the fixation of three different characters in the play. Sloan’s early solo, “Mad About You,” is a triumph and he never relinquishes the cheering we give him as an audience. Opposite Sloan is a pitch-perfect Annelise Escobedo Lyman as Philoclea, the true apple of Musidorus’ eye. Lyman shines in her leading of the trio, “Good Girl,” delivering innocence and genuine love for her beloved while giving dynamite vibrato. Her ongoing snippets of duet and solos are welcomed turns among a, honestly, fantastic vocal company. Playing Pamela, sister to Philoclea, is Julia Prieto, who gives not only a vocally dominating performance, but one which delivers on the comedy, romance, and drama the role requires. “Beautiful” is a wonderful solo turn for Prieto, and “How Much More,” is a gem. Prieto and Jessica Meredith, playing Pamela’s maid/eventual lover, deliver a show-stopping duet in “Automatic Rainy Day,” and nail the delivery of their romantic arc, the most solidly written in the show.

(Company of Head Over Heels; Photo credit: Kyle Lowe)

William Bishop, as King Basilius, and Ellie West, as Queen Gynecia, give wonderful, appropriately juxtaposing performances of royal buffoonery (the King) and royal intelligence and duty (the Queen). With solid vocal and acting work throughout, their highlight is in their act two duet, “This Old Feeling,” complete with a memorable comedic performance by Sloan, balancing the two’s source of affection. Both West and Bishop lead a wonderful “Heaven is a Place on Earth,” a nice upbeat moment amongst the act two drama. Nwachukwu is a dominating force, both vocally and physically, as the oracle-delivering Pythio. Partnered with I Adeficha’s Snake-puppetry/Pit singing, Nwachukwu gives the musical a grounded focus, a standout performance which truly benefits from their flawless execution of the old theatre note, “less is more.” With engaging crouching, a few sliding stair units, and featured choreography, Nwachukwu’s turns at “A Vision of Nowness,” a few reprises, and “Our Lips are Sealed” are gold. Juan Luis Guzman delivers a scene-stealing turn as Dametas, father to Mopsa. It’s never an easy job to be the comedic relief in a musical comedy, but with Guzman’s physical antics and eloquent delivery of several plot-serving asides, he comes through with aplomb.

(Front center-right: Nwachukwu (Pythio), Up on stairs: I Adeficha (Snake/Pit Singer); The Arcadian ensemble of Head Over Heels; Photo credit: Kyle Lowe)

Now, the Arcadian ensemble. For those who don’t know, “jukebox musical” almost never equates to “easy singing,” and this ensemble delivers on all fronts. The ensemble is truly a unit in voice and in movement. With Flores having a very specific storytelling style while still creating formations and aesthetics which don’t bore, the movement and dance breaks in the score are filled without overdoing. The ensemble is giving it all, in the heat, outside, on a not-cushy stage, and you would have no idea because their execution appears effortless and fun. Flores choreographs the entire company with intelligent vision, always serving the script. I found his (without spoiling it) context of a lift that Sloan receives in act one’s “Mad About You” to have a wonderfully tender meaning when reprised after act two’s “Here You Are.”

Within an intentionally stripped-down tech, it is Damen Pardo’s costume designs which take center focus, and rightly so. The entire company is dressed with enthusiasm in color palettes to complement the company numbers and individual journeys the principal characters take. Head Over Heels is a show that I never have to see again because I’ve seen a peak production. Many bravos and bravas to Flores, Ramos, team, and cast for putting on a highly entertaining show, one which is progressive in bringing to light the importance of understanding pronouns, gender fluidity, and societal norms. These topics are given discussion, and explored through question, in a responsible manner, both in the show and in Selma Arts Center’s program excerpt. It’s not often, or ever really, that one will receive entertainment and education at a jukebox musical. Selma Arts Center has nailed it, so head out and go see this show!

[suzie81blog]

Press Review: The Mousetrap at The Alexandra Theatre

Press Review: The Mousetrap at The Alexandra Theatre

(more…) As news spreads of a murder in London, a group of seven strangers find themselves snowed in at a remote countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst! Which one is the murderer? Who will be their next victim? Can you solve this world-famous mystery for yourself? Agatha Christie’s The Mousetrap at the…