By John Thomason
By John Thomason
By Andrea Richard
By Fire Ant
By Andrew Soria
By Dana Krangel
By Andrea Richard
By Andrea Richard
Since the here and now has been so visceral these last few weeks, many South Floridians may have spent little time looking to the future. But eventually they should, when it comes to theater. The upcoming season looks promising; both established companies and upstarts have ambitious plans.
As has been the case for a number of years, our top-rung professional theaters -- the Caldwell, Florida Stage, Coconut Grove Playhouse, and GableStage -- are focused on recent Broadway small-cast hits, a programming strategy that matches mature, literate material with minimal production costs. A chief problem with this strategy is that of identity. With so many companies producing the same kind of plays, discerning one of these theaters from another, except by geography, is becoming difficult. But that aside, these theaters are serving a flavorful array of thoughtful, engaging dramas and comedies with numerous South Florida premieres. Many of these new plays, a number of which are world premieres, contain explicit social and political themes. If that trend continues, the new century might augur an interesting, vigorous era in Florida theater.
A number of small companies also offer interesting seasons, including several new theaters. The Sol Theatre of Fort Lauderdale opened its doors this month, as will Coral Gables' Dreamers Theatre. And theatergoers can expect to hear intriguing sounds from some of the area's streetwise companies: Mad Cat, M Ensemble, Juggerknot, and Oye Rep. And lucky us, the list is growing.
Several world premieres are in the offing, and a number of stages are presenting works in progress by local writers, a healthy sign for the local scene. What's missing from the professional lineups is much attention to the classics, particularly American classics. Once again economics is a paramount concern: Many great plays -- from Pedro Calderón de la Barca to August Wilson -- have large casts and high costs. The university theaters take up some of this slack; each has scheduled at least one classic in its schedule.
But the list of companies in the area is so long that there is no space here to run down all season schedules, so we present several highlights:
Florida Stage in Manalapan continues its tradition of challenging, issue-oriented theater with a four-show season, including Black Sheep, a new play about race relations within one family, and Red Herring, a comic spy tale set in the McCarthy era.
GableStage in Coral Gables sticks with its winning strategy of Florida and South Florida premieres. Boy Gets Girl, a suspense tale about stalking, sounds like a promising season opener. Edward Albee's latest, The Play about the Baby, is another potential winner. The Caldwell Theatre kicks off with the world premiere of Concertina's Rainbow, followed by A.R. Gurney's New York hit, The Cocktail Hour.
The Coconut Grove Playhouse hosts another affair for its opener, Neil Simon's The Dinner Party, also a Broadway success, but its season highlight is decidedly Proof, which earned numerous awards and New York theater accolades last year, including the Tony and New York Drama Critics Circle awards.
The New Theatrein Coral Gables continues to grow, with more challenging programming to match its brand-new performance space. Nilo Cruz's latest, Hortensia and the Museum of Dreams, opened September 15, a world premiere about some Cuban exiles who return to their native island. The season also features The Weir, an engaging Irish ghost story, and another world premiere, Smithereens, from Argentine playwright Mario Diamente.
The Broward Center for the Performing Artsin Fort Lauderdale opts for less-serious fare with its opener, a two-man physical show titled Thwack, and two off-Broadway comedies, Fully Committed and Maybe Baby, It's You.
Light entertainment is also the game plan for Actors' Playhousein Coral Gables, with a slate dominated by musicals that range from revues (4 Guys Named José... and una Mujer Named María) to a Broadway classic (The King & I). Same for Footlights,a new Fort Lauderdale troupe, which opens with Knish Alley, a comedy about the glory days of Yiddish theater at the turn-of-the-last-century New York.
At least two theaters are just entering the local stage: In Coral Gables, Dreamers Theatre will open with a world premiere, Beautiful Dreamer: A Tale of Cassadaga, a romantic fantasy from the troupe's artistic director, Yolandi Hughes; and in Fort Lauderdale, the Sol Theatre last week opened its first production, Shakespeare's The Tempest, a rare classic scheduled this season.
Of the classics getting a showing, most will be presented by one company: the Fort Lauderdale Children's Theatre, with no less than nine golden oldies, from Peter Pan to the Wizard of Oz. The others will be found on the academic stages. The New World School of the Arts in downtown Miami will present several, from Ibsen to Beaumarchais, but the most exciting is Aeschylus' The Oresteia, the entirety of it, with all three parts in repertory. In Boca Raton, Florida Atlantic Universityoffers another Chekov, Ivanov, but more attention will be focused on Marathon 33, the revival of June Havoc's long-neglected play about the Depression-era marathon dance craze. Edward Villella choreographs the dance numbers.
Finally, a note about one new face on the local theater scene: me. As some New Timesreaders might recall, I have contributed film reviews from time to time. Now I'll be taking on the role of theater critic, succeeding the worthy and always readable Mia Leonin, who has opted to take some time to work on her own creative writing as well as teach. As her successor at New Times, I hope and intend that readers will find a continuity of the quality, fairness, and integrity she brought to these pages.