Thomas was outstanding as Libby Price, a world-weary black woman adrift in the Southern racial struggles of the 1960s in this interesting production. ("Bee-luther-hatchee" is early 20th-century African-American slang for a faraway, damnable place, the next station after the stop for hell.) This was the New York City-based actress's first stop in South Florida, and her emotionally compelling work was a model of simplicity and clarity and left an indelible mark on the memory. With more such roles, maybe we'll be fortunate enough to see more of Thomas on our stages.
Thomas was outstanding as Libby Price, a world-weary black woman adrift in the Southern racial struggles of the 1960s in this interesting production. ("Bee-luther-hatchee" is early 20th-century African-American slang for a faraway, damnable place, the next station after the stop for hell.) This was the New York City-based actress's first stop in South Florida, and her emotionally compelling work was a model of simplicity and clarity and left an indelible mark on the memory. With more such roles, maybe we'll be fortunate enough to see more of Thomas on our stages.
And the winner is.... Once again, the award goes to Adler for his range of work and the professionalism with which it is produced. From gritty naturalism in the creepy and mind-bending Boy Gets Girl to lyrical musical drama in The Dead to the brilliant absurdism of Edward Albee's The Play About the Baby, Adler moves all over the stylistic map and handles each stop with assurance. His direction is marked by clarity, energy, and a palpable love for the actor's craft. It's no coincidence that many actors shine in his productions. Until someone else manages all this in one season, the crown remains firmly planted on his head.

And the winner is.... Once again, the award goes to Adler for his range of work and the professionalism with which it is produced. From gritty naturalism in the creepy and mind-bending Boy Gets Girl to lyrical musical drama in The Dead to the brilliant absurdism of Edward Albee's The Play About the Baby, Adler moves all over the stylistic map and handles each stop with assurance. His direction is marked by clarity, energy, and a palpable love for the actor's craft. It's no coincidence that many actors shine in his productions. Until someone else manages all this in one season, the crown remains firmly planted on his head.

Who's afraid of putting on Edward Albee? Not GableStage. And this production of the playwright's mind-bending verbal labyrinth was a dizzying, enigmatic tour de force. Strong all around, from Joseph Adler's crisp staging through the tight and engrossing performances (including some nifty work from John Felix and Cynthia Caquelin). Add to the mix the excellent work of Jeff Quinn, Daniela Schwimmer, and Nate Rauch -- for sets/lighting, costumes, and sound, respectively -- and what you get is hard to beat, even if it were competing in a theatrical capital.
Who's afraid of putting on Edward Albee? Not GableStage. And this production of the playwright's mind-bending verbal labyrinth was a dizzying, enigmatic tour de force. Strong all around, from Joseph Adler's crisp staging through the tight and engrossing performances (including some nifty work from John Felix and Cynthia Caquelin). Add to the mix the excellent work of Jeff Quinn, Daniela Schwimmer, and Nate Rauch -- for sets/lighting, costumes, and sound, respectively -- and what you get is hard to beat, even if it were competing in a theatrical capital.
Somogyi gets the nod for her droll, inventive 1950s design scheme, in itself a hilarious social critique. From nightmarish polka dots and pony skirts to her big-shouldered suits for men, the New York City designer brought Red Herring an added level of comedy and social commentary. Somogyi has tailored her craft to this era before. She was the one who dressed up Kathleen Turner as Tallulah Bankhead at the Coconut Grove Playhouse and sent us back, through ball gowns, to 1940s post-war America.
Somogyi gets the nod for her droll, inventive 1950s design scheme, in itself a hilarious social critique. From nightmarish polka dots and pony skirts to her big-shouldered suits for men, the New York City designer brought Red Herring an added level of comedy and social commentary. Somogyi has tailored her craft to this era before. She was the one who dressed up Kathleen Turner as Tallulah Bankhead at the Coconut Grove Playhouse and sent us back, through ball gowns, to 1940s post-war America.
Using an all-white set and a series of mobile screens, Becker created an ever-shifting funhouse of mobile space, a perfect setting for Lee Blessing's elusive, dreamlike comedy that offered director Michael Bigelow Dixon plenty of staging opportunities. The space allowed the play itself to expand into the marvelous production that it was. If you wanted to see how it's done, this was the perfect learning ground.

Using an all-white set and a series of mobile screens, Becker created an ever-shifting funhouse of mobile space, a perfect setting for Lee Blessing's elusive, dreamlike comedy that offered director Michael Bigelow Dixon plenty of staging opportunities. The space allowed the play itself to expand into the marvelous production that it was. If you wanted to see how it's done, this was the perfect learning ground.

Best Of Broward-Palm Beach®

Best Of