BCCM's BELLS ARE RINGING Begins Tonight
BCCM's production of BELLS ARE RINGING, a hilarious slice of the mid-Twentieth Century world lost to voice mail and texting, opens at the Heinen Theatre, 3517 Austin, at 7:30 p.m., tonight, September 17, 2015.
Bayou City's NEW GIRL IN TOWN Begins Performances Tonight
Jon L. Egging has joined the cast of Bayou City Concert Musicals' production of the 1957 George Abbott musical version of Eugene O'Neill's Anna Christie, New Girl in Town. Egging replaces Charles Krohn, who had to drop out of the production because of a knee injury.
BWW Reviews: Main Street Theater's A CIVIL WAR CHRISTMAS: AN AMERICAN MUSICAL CELEBRATION is Brilliantly Crafted and Deeply Moving
Every year, the holiday season is marked by gooey, theatrical mind-candy confections. The syrupy and saccharine spectacles fill audiences with joy and boil pots all over town. Yet, for 2013 Main Street Theater is taking a bold risk and producing the brilliantly crafted and deeply moving Houston Premiere of A CIVIL WAR CHRISTMAS: AN AMERICAN MUSICAL CELEBRATION by Paula Vogel, with music by Daryl Waters. The play is not the light-hearted, feel-good fare audiences have come to expect; however, I defy anyone to walk away from a performance without feeling moved and permanently altered.
Bayou City Concert Musicals to Present THE PAJAMA GAME at Heinen Theatre, 9/12-15
Bayou City Concert Musicals will present the classic musical comedy, The Pajama Game, for five performances at the Heinen Theatre, 3517 Austin, September 12-15, 2013. The Thursday performance (9-12) will begin at 7:30 p.m. with the Friday (9-13) and Saturday (9-14) performances beginning at 8:00 p.m. There will be two performances on Sunday (9-15), a matinee at 2:00 p.m. and an evening performance at 7:30 p.m.
BWW Reviews: Stages' DOLLHOUSE - A Suspenseful, Thrilling Ride
Stages Repertory Theatre is presenting a tense and taut production of Rebecca Gilman's DOLLHOUSE. The 2010 play is a modernized retelling of Henrik Ibsen's classic A DOLL'S HOUSE. DOLLHOUSE is set in Chicago, circa 2004. Scandals, like Enron, have rocked American society, and the financial stability of the country is starting to falter. Rebecca Gilman's narrative puts a wealthy couple at the center of the pressure-cooker drama, where Terry keeps close tabs on the families various accounts with hopes to pay off debts and Nora is a shopaholic with a spending addiction. Tension mounts while anxiety gives way to anger and shows for dominance, racing towards Henrik Ibsen's famous door slam. Yet, in DOLLHOUSE, Rebecca Gilman adds a modernizing twist to the classic ending that will give audiences plenty to talk about, but, in my opinion, only serves to solidify how disgusting and unlikeable the two main characters really are.
