Joseph Harrison - Page 2

There’s a particular thrill getting to be the first in an audience for a new theatrical work. You can almost feel the time, passion and love poured into a piece when it finally makes it to the stage. And even if there are elements that could use refining, trimming or updating, the energy is unlike anything else one might experience in a darkened theatre. It was this feeling that I experienced sitting in the opening night audience of the world premiere of BELLADONNA: THE MUSICAL produced by Mac Boys Entertainment at Orlando Family Stage. The story was compelling (and new), the performances were filled with power and passion, and the creativity on display was palpable.

It is hard to tell when a piece of pop culture is going to have a cult following. Would Richard O’Brien have believed you back in 1973 when THE ROCKY HORROR SHOW premiered in London if you told him that his quirky, but outrageously fun, musical would still be creating midnight madness all around the world some 50+ years later? The formula for a phenomenon like that is hard to nail down. Is it the bold characters? The catchy and electric music? The slightly subversive undertones? As exciting as they can be, they don’t come around every day. Which is why it was so electric to be in the room at Theatre South Playhouse in Dr. Phillips on opening night for the Central Florida premiere of RIDE THE CYCLONE, a musical that has been growing a cult following of its own over the last few years, mostly due to a viral explosion of content on social media especially with the younger generation of musical theatre fans. And, based on the packed house of enthusiastic and excited theatergoers, seeing this performance was something special for many, and I can see why. In the highly skilled creative hands of the folks at Theatre South Playhouse, RIDE THE CYCLONE, is a thrilling, entertaining, energetic, and sometimes poignant evening of theatre that you don’t have to be a super-fan to thoroughly enjoy.

In the world of jukebox musicals, the best way to ensure something entertaining and enjoyable is to either use the music in an organic way, often telling the story of the artist themselves or to go the opposite route and create something over the top with a loose narrative, allowing the audience to focus primarily on the music they love and the performances on stage.

What do you get when you cross a regency era tale of a high society engagement, mix it with a bawdy farce and add a dash of murder? You get THE F. MARRYKILL AFFAIR the latest immersive offering by New Generation Theatrical which plays at the Abbey in Orlando through Monday, February 19th. Written and Directed by New Gen’s Creative Director, Michael Knight (who also plays Chaudry Gethard, the narrator of the tale), THE F. MARRYKILL AFFAIR is a frolicsome “interactive, hilarious engagement party to die for”, which makes for a fun, exciting and all-around entertaining evening of theatre. 

One of the things that I love the most about musical theatre as an artform is that the genre contains multitudes. From a thrilling, bombastic and electrifying show that takes your breath away to a quieter, more introspective and emotionally devastating production, and everything in between, they are all musicals. And sometimes, a production just feels comfortable – like a favorite chair, seated by a fire on a cold winter evening – making you feel safe and putting a satisfied smile on your face. That is the case with the recent hit Broadway musical - BEAUTIFUL: THE CAROLE KING MUSICAL which is now playing at Titusville Playhouse in Titusville, FL through February 18th. This crowd-pleasing show transports its audience to the world of 1960s songwriting and brings them along for the rise of a music legend. And in Titusville Playhouse's highly capable hands, this vibrant production captures perfectly the spirit of Carole King's storied journey, from her early days as a Brooklyn teenager to her meteoric ascent as a solo artist and does so with polish and pizzazz.

Musicals that are adapted from previous works, including books and film, can be hit or miss. But sometimes, there is something magical about exploring a new way of telling a familiar story that elevates elements you missed while also bringing to life on stage favorite moments. This is the case with MATILDA THE MUSICAL – a show based on the beloved Roald Dahl novel and adapted for the stage by Dennis Kelly (Book) and Tim Minchin (Music and Lyrics). And in its latest production of MATILDA THE MUSICAL (a second mounting, after producing a sold out run of the show back in 2019), Theatre South Playhouse delivers an energetic, exciting, thoroughly entertaining and captivating evening (or afternoon) of theatre that is sure to please audiences of all ages.

There’s nothing I like more as a theatre reviewer than experiencing a production completely fresh. And going into a theatre with no prior exposure to a piece is so rare for me these days that when I do have the chance, I jump on it. Such is the case for Opera del Sol’s production of DRACULA, the 2004 Frank Wildhorn musical that was critically panned on Broadway and received new life (cue undead pun) through rewrites in the years since. And in Opera del Sol’s creative and talented hands, the piece is given the chance to breathe and take shape in a bold, creatively inspired and powerfully sung production that is filled with thrills (and chills).

“What makes a monster and what makes a man?” These lyrics illustrate so well the essence of THE HUNCHBACK OF NOTRE DAME, the soaring gothic musical based on the classic Victor Hugo novel and featuring music from the Disney film of the same name. This question sets the stage for an epic tale that is currently being vividly brought to life on the Osceola Arts stage. This production is beautifully imagined, magnificently sung and emotionally resonant – and serves as the perfect opener to Osceola Arts’ 63rd season.

For many years there has been a stigma around talking openly and honestly about one’s mental health and those things many rely upon for treatment, including medication and therapy. This has been especially the case for those in the black/BIPOC community. And though there has been progress made over the last few years, partially due to the realities brought on by the COVID-19 pandemic, there is still much progress to be made. That is why it is especially important that New Generation Theatrical decided to produce NEXT TO NORMAL with a cast of mostly black/BIPOC actors to bring attention to this important issue and hopefully build awareness and support. And in doing so, New Gen delivers a raw, emotional gut punch that strikes a chord and a nerve in a powerful way.

Titusville Playhouse has once again brought Broadway magic to life with their latest production of THE PROM. This heartfelt and exuberant musical, which has built a following due to its popular Broadway run and the Netflix film is a touching and joyous celebration of love, acceptance and the transformative power of self-discovery. It is fresh and fantastic on the Titusville stage, allowing the audience to connect with the frenetic and fun story and have a blast at the same time.

There is something extremely refreshing when a theatre company gives its patrons the opportunity to experience a rare gem. Now, there’s nothing wrong with producing a show that is popular with the masses, but out of the thousands of musicals out there waiting to be performed, giving a rarely produced and underappreciated property the chance to breathe on the stage is, to me, the ultimate gift to theatre fans. That is why I was thrilled to have the chance to experience A LITTLE NIGHT MUSIC – the season opener for Orlando’s Central Florida Vocal Arts (CFVA) at the Dr. Phillips Center. And I am here to tell you, CFVA’s production is absolutely magnificent – and one that you simply do not want to miss.

The Winter Park Playhouse, a staple in the Orlando arts community has opened its 21st season of professional musical theatre with HONKY TONK LAUNDRY, a jukebox musical featuring music from some of the most popular women of country music including Carrie Underwood, Dolly Parton, and Tammy Wynette. This handclapping, foot-stomping musical provides a high-energy and fun evening for theatergoers in Winter Park and opens their season with a bang.

In 1979, the office was a very different place than it is today. Secretarial pools, typewriters, and carbon copy memos were regular fixtures as was, unfortunately, blatant misogyny and sexism in the workplace. Thankfully, we have grown and evolved as a society since then, but sometimes looking back on those times can give us perspective on our current world, and can, in fact, be quite entertaining as well. That’s certainly the case with Titusville Playhouse’s 59th season opener, 9 TO 5 – THE MUSICAL, an energetic and funny adaptation of the classic film.

Sometimes a production comes along that finds the perfect synergy between content, cast and creative vision ultimately delivering an elevated theatrical experience. And when that show is lesser known, but wildly entertaining that makes this perfect alignment seem even more rare. I am thrilled to say that The Winter Park Playhouse has found just such a production in DESPERATE MEASURES, the final offering in its 20th season. This rollicking, hilarious and superbly performed musical comedy is sure to thrill and shows off why The Winter Park Playhouse is truly a gem in the Orlando theatre community.

Here in Orlando, we are lucky to be a stop for many Broadway tours and also very fortunate that these get to play in the magnificent Dr. Phillips Center For the Performing Arts. But rarely do we have the chance to see a limited run of an acclaimed Broadway musical with much of its original cast in place. But next week, we have just that chance when Stephen Sondheim’s INTO THE WOODS lands in Orlando, fresh off a successful run on Broadway and original production at City Center ENCORES!. One of those cast members who has been a part of the production from the very beginning is Cole Thompson, who plays the young lad, Jack. I had a chance to catch up with Cole and learn about his take on the role and his exciting journey with INTO THE WOODS.

“White. A blank page or canvas. The challenge: bring order to the whole.” These words begin Stephen Sondheim’s Pulitzer Prize and Tony Award winning musical, SUNDAY IN THE PARK WITH GEORGE – an exploration of the passion and beauty found in creativity and art as told through the fictionalized eyes of the artist Georges Seurat. In mounting this rarely produced musical as the close to its 58th season, Titusville Playhouse gloriously captures the emotion, the urgency, the relevance, and the importance of this Sondheim classic and delivers it flawlessly.

There are some musical theatre scores that burrow themselves into your subconscious and stay with you long after the first listen or the first time experiencing a show in a darkened theatre. For me, Lucy Simon’s score for THE SECRET GARDEN is one of those that has permanent real estate in my head ever since I first listened to the cast album 32 years ago . Maybe it’s Ms. Simon’s soaring, beautiful melodies or Marsha Norman’s poetic and poignant lyrics (and book) but THE SECRET GARDEN is, vocally, as luscious and verdant as the garden that features prominently in the play. It is a perfect vehicle, then, for a company with “Vocal Arts” in its name – and in Central Florida Vocal Arts’ (CFVA) production, now playing through May 7th at the Dr. Phillips Center, the music takes center stage and is allowed to blossom into something truly magical.

'Laughter through tears is my favorite emotion', states southern sage and beauty shop owner Truvy Jones in STEEL MAGNOLIAS. No line of dialogue describes so well the audience's experience while viewing this hilarious and touching play. And in Osceola Arts’ latest production of the Robert Harling classic the laughs (and tears) are plenty – orchestrated by six talented actors embodying these old friends from Chinquapin Parish, Louisiana.

One of the first things I realized when I moved to Orlando back in 2020 was the extremely active and vibrant arts scene. This came as a real surprise because, as an outsider, I had previously only associated the area with theme parks and tourism. I quickly learned about the wealth of talent, artistic offerings and culture available to us all here in the City Beautiful and of the amazing venues and spaces where art and culture happen here every day and have since had a chance to personally experience so many of those spaces as I review performances there. One of those key spaces, or cultural “hearts” of the city, is the Dr. Phillips Center for the Performing Arts – a stellar, state of the art venue that houses multiple performance spaces and makes its mission to provide “Arts For Every Life”. To learn more about the Dr. Phillips Center and everything it has to offer today (and for the future), I sat down with CEO Kathy Ramsberger who provided a bit of background on her own journey and discussed the role the center plays bringing arts and culture to the people of Orlando and beyond.

URINETOWN: THE MUSICAL may not be the most appealing title for a show, but it has proven over the last 20+ years since its journey to Broadway (scoring ten Tony nominations and three awards) that it can be a real crowd pleaser, despite the unfortunate title (and unique subject matter). With music and lyrics by Mark Hollmann and book and lyrics by Greg Kotis, URINETOWN is that rare breed of musical – a tuneful and entertaining satirical comedy with a deeper commentary on the state of the world. And for Theatre South Playhouse in Dr. Phillips this production is a long time coming – as they were poised to open a production of the show in March 2020. So, just like the characters in URINETOWN, you might say the theatre company has been “holding it” for three years (sorry, I couldn’t resist). And the wait seems totally worth it for this production delivers a funny, entertaining and rollicking good time from beginning to the very last “flush.”