As the secretary and wannabe stage actor Ulla sings in THE PRODUCERS, when you got it, flaunt it. And Mercury Theater’s production definitely got it.
In their season opener of Jesus Hopped the ‘A’ Train, Eclipse Theatre examines moral responsibility through the lenses of religion and the criminal justice system- two institutions occupied with salvation as much as flawed doctrine. And in this case, neither the Law nor God provides their constituents with a clear path to redemption.
MARY PAGE MARLOWE is snippets from one woman’s life (played by six different actresses), a woman said to be ‘unremarkable’, a thrice-married CPA with two kids and a drinking problem. But I didn’t feel that I was watching a play about someone unremarkable, at all. I felt I was watching the story of a thousand women, of a hundred thousand women, maybe a million women — women who lost and found themselves a dozen times over, in their lifetimes. Women who can’t please their mothers, or become their mothers; who can’t please their children, or be their children; who can’t please themselves, or be themselves. Women capable of more, but lacking some essential element to make it so; like maybe equal footing, or a society that sees them as people.
In Donica Lynn, Porchlight’s DREAMGIRLS has certainly found its own star. Lynn sings the hell out of the famous Act One showstopper “And I Am Telling You I’m Not Going.”
True theatrical immediacy can be hard to come by. Plays take time to write, produce, and rehearse – it can be a challenge to keep them fresh and resonant, especially when they tackle major social and political issues.
In his one-man revue HERSHEY FELDER AS IRVING BERLIN, Felder pays loving homage to the famed composer who worked his way from Tin Pan Alley to Broadway to Hollywood and beyond. This revue showcases a number of Berlin’s greatest hits, including “I’ll Be Loving You Always,” “Puttin’ on the Ritz,”...