The Dallas Theater Center’s ‘Cabaret’ may takes its cue from Sam Mendes’ hit revival of 1993 – putting theatergoers right in Berlin’s Kit Kat Klub. But director Joel Ferrell has made some crucial changes to this often-changing musical — and created a chilly, smart, disturbing hit.
Posts Tagged 'review'
‘Red Light Winter’ plays like a comic buddy movie — two guys go to Amsterdam for the sex — but aims to be a brutal Neil LaBute drama. The weak get savaged and the prostitute isn’t who she says. Second Thought Theatre’s production is nothing less than outstanding.
Sunday afternoon’s performance of Rigoletto in the Winspear Opera House was unusually consistent in the strength of its vocalists while pleasing the eye and maintaining emotional intensity.
Playwright Horton Foote provided us with a long-term chronicle of changing-unchanging Texas life, and the Horton Foote Festival allows us to see that panorama — in front of Texas audiences, who pick up on the points about Methodists or Mexicans, real-estate bankruptcies and Whataburger. Jerome Weeks reviews the Dallas Theater Center’s uproarious ‘Dividing the Estate’ and Stage West’s gentler ‘Talking Pictures.’
Don Graham has written books about the way Hollywood treats Texas and the way Texas treats authors. The writer-at-large for Texas Monthly also has a habit of riling up readers with his dry take-downs of Mary Karr’s “Cherry” or Cormac McCarthy’s appearance on Oprah. We talk with Graham about ‘Giant’ and the TV show ‘Dallas,’ about why Sea World has a statue of Katherine Anne Porter – and a listener calls in to tell us about being JR’s chef.
See the death-defying escape from the crate of (tiny) killer rubber scorpions! Thrill to the great knife-throwing act with the Silver Daggers of Orion! What, we’ve only got butter knives? No matter, it’s the amazing “Memphos!” and this sputtering, erratic, funny sideshow act by Matt Posey proves that vaudeville isn’t dead. It’s just passed out.
It’s not just that August Strindberg cracked open such a taboo topic as sexual power games. It’s that he handled it in such a radically stripped-down fashion. ‘Creditors’ has three characters, one set, no intermission; it’s a compact vial of toxic emotions. Broken Gears’ new adaptation is handsome, compelling and stark — and just short of great.
With ‘Lucia di Lammermoor,’ the Houston Grand Opera assembles a vocally impressive cast that breathes new life into a 19th century operatic standby. With ‘Dead Man Walking,’ it steps boldly into dark corners of the 21st century, where acting chops are as vital as vocal ones. It succeeds in both instances.
Presented by Second Thought Theatre, ‘Thom Pain (based on nothing)’ by Will Eno was a finalist for the Pulitzer Prize in 2005, and it deserves the honor – as exasperating as the brilliant, sardonic monologue can be for some people.
Mel Brooks has always been about going for the big, outrageous laugh. So what can a Broadway musical adaptation do to make us forget Gene Wilder and Peter Boyle hoofing it as doctor and monster? Jerome Weeks reviews.