Brent Deekens is an actor, singer, playwright, and occasional director/dancer. Brent's play The Currency premiered Off-Off-Broadway in 2015, and he continues to write for future projects. In addition to his theatre and occasional film/television credits, Brent's professional life assumes a variety of vigorous, cross-country positions which include (but are not limited to) data processing, transcription, copyediting, professional recruitment, location scouting, marketing, photography, video editing, dramaturgy, professional writing, and dabbling in the visual arts. Brent was born and raised in Richmond, Virginia where he remains a conscientious participant of the local arts' community amongst many irreplaceable friends.
I believe that I can safely attest that this particular revival of CABARET, which met its incipience with the Donmar Warehouse production in London way back in 1993, bears the graces of a masterwork that has stood the test of time.
Amid the ever-random fronts of varying warm and cold weather patterns, I was fortunate enough one recent, blustery evening to be invited by director Mess Rayford and her small but dexterous team of performers and technical aides to a preview-performance of the Cellar Series' latest theatrical outing
I must preface this article to indicate that as much as I found this production of ALL MY SONS to be beguiling and devastatingly gripping, I found myself thinking, 'Wow, people just don't talk this way anymore.
In a swingin' cavalcade of big band excitement, director Tom Width and his sterling team of singer-actors, musicians and technicians have packed a real red, white and blue wallop!
True to their slogan 'Theatre Beyond Boundaries,' director Lucian Restivo and the personnel at 5th Wall have executed (pun intended) a distinctly immersive theatrical gambit with pulverizing marks.
For those unfamiliar with Eugene O'Neill's stark allegory of a poor family's struggle against the stagnant days of the Great Depression: don't let anyone (the internet included) spoil it for you! Not even me; and I'll keep things brief here, too.
It is this reviewer's exultant onus to relay that in the case of TheatreLAB and YES, AND's production of THE LAST FIVE YEARS, director Chelsea Burke and her team have pulled out all of the stops to give the audience an unforgettable experience, with the technical follow-through and musical polish to