Brett Cullum - Page 11

OLEANNA demands to be seen again, and The Landing Theatre Company has just the right chops to bring it to life at 14 Pews. It feeds off the intimate space, and they have found two actors who have the energy to deliver the message at the right pitch to make the audience squirm.

Ambition, love, why we do the things we do, all of these topics get drawn out into the ether between the jokes and name-dropping. It's a deep piece despite it just being a rave and rant about a famous lady who hoards her stuff.

This iteration of the Tamarie Cooper Show explores the leading lady's emotional baggage, battle against minor depression, and all of the discarded bad ideas that the troop has come up with when they were in line at 4am at Taco Bell. In other words, business as usual for Tamarie and her cast of usual suspects.

In this age of whiz bang computer generated spectacles like STAR WARS or the AVENGERS, it's nice to sit down and take science fiction back to its roots. REPLICA aims at the human condition, and recreates it a little too perfectly to make anybody comfortable. 

There is no other company in Houston that is better equipped to handle his material, and this production cements that with ease. It is presented with a casual decadence that perfectly captures the world of the black American musician during this time.

The play presents an interesting dilemma - what if genetic testing advanced enough that you could tell your baby was going to be gay? Would a straight couple still be willing to have it?

THE GOVERNMENT INSPECTOR is a fluffy piece, but has real bite when we look across at our current state of political officials. It almost hurts to laugh so hard at the Russians.

It's not a reinvention, but a celebration of the classical musical that delivers familiar songs and themes. It is well worth coming to this CABARET where indeed… life is beautiful.

EIGHTH DAY OF THE WEEK is a lovely portrait of what family means in the face of the unthinkable. It's a positive and affirming show that taps something anybody can relate to, the need for your family to understand exactly what you are facing.

DARK MATTER is a complex show that requires the audience make connections for themselves. It is challenging theatre presented by passionate artists who find ways to keep it light enough to be entertaining.

MEMPHIS is a great step for TUTS – a thought-provoking timely piece on race relations featuring a significant number of Houston artists. It's directed and staged well, and the show entertains throughout.

THE BODYGUARD THE MUSICAL is one of those shows that offers up little else but a warm nostalgia for the original material, but thankfully the source is strong enough to make you tap your toes and smile from ear to ear.

It's freaky and fun! Glittery boots, lots of variations on sex and preference, and even a stripper pole front and center means this one is not gonna be a light family musical. If the phrase 'think BARBARELLA meets ROCKY HORROR' makes you shiver in anticipation, then reserve your seats now.

It's certainly a relevant piece for our time, and I applaud the intention of bringing it to life in this era of political debate and mistrust of the media. But if you're going to dig this one up then have the nerve to make it feel dangerously close to the outside world.

It's a deeply emotional musical telling the story of a lesbian girl as she navigates her way through life with a closeted gay father. The Broadway Production won the Tony in 2015 for Best Musical as well as top honors for its book and score. It is a handsome show, acted expertly, and it will move anyone lucky enough to connect with its take on what it is like to be queer in the world.

The actors are amazing, the set is handsomely appointed, and the lighting design is creative and well executed. It fascinates for a while. But once the finale fizzles from a lapse in logic, GRAND CONCOURSE proves to be an exercise in dramatic frustration.

Stages has assembled a "dream team" trio of comedians who can sing, and they make 5 COURSE love zip along with glee and pep. This is not a heavy night at the theatre, but a silly romp that should have audiences leaving with a big grin.

GLENGARRY GLEN ROSS stands the test of time because old white men are still jerks and Mamet is a genius at creating dialogue for them.

TREVOR is what the Catastrophic Theatre does best - funny and provocative work that has much to say about the human condition. It's fascinating it takes a celebrity-obsessed chimpanzee to deliver the most human and touching of performances thanks to the combination of Kyle Sturdivant's acting prowess and a whipsmart script from Nick Jones.

This story is universal, but the intricate score and stellar cast are unique and astounding.