Brett Cullum - Page 6

It’s a quick hour-and-twenty-minute script that became the basis for a sitcom, and guess what? It pretty much feels like watching a taping of a television comedy. It’s light, fluffy, and fun. It’s like summer ice cream, and this one will be a natural audience pleaser to round out this company’s season.

Boiling Point Players are joining forces to recreate this reimagining of Shakespeare’s Julius Caesar—set not in ancient Rome, but behind the bars of Rome Correctional Facility, a women’s maximum-security prison where power is currency and betrayal is a daily threat.

This is a revival for Theatre Under the Stars, who first presented IN THE HEIGHTS in 2016. It replaced GREASE as their season opener way back then, which marked an inevitable transition in the company’s artistic direction and commitment to the evolution of musical theater.

They have managed to restage BUG for 2025, and boy, is it a doozy! You don’t want to miss this revival and reimagining of the Tracy Letts cult classic. The entire company goes for broke, and they create a fiery display of acting, visuals, and audio landscapes that will blow you back in your chair.

In the Heights follows three days in the life of a community in Washington Heights. We get to see several different stories and vignettes that are happening throughout the show. It's this community that's having to deal with instant change.

So I think, first and foremost, Bug, believe it or not, is a love story. Without loneliness and without loss and without vulnerability, we don't get to the place that we need to be, where this crater of ache exists inside Agnes, which opens her up to Peter. Which really is the beginning of the infestation.

A lot of people ask, “Why do you think it won the Pulitzer?” Post pandemic, and with all of the social media stuff that we have going on. There's something so simple that she was able to capture again, how we need each other, and it goes so against what society tells us.

And what of Wesley Whitson as Hamlet, perhaps the most challenging role in the entire canon of Shakespeare’s works? He is age-appropriate and fiercely dives into the madness for the first two-thirds, and then becomes steely and predatory for the final acts.

This is the first time Denise Fennell is playing herself, and it only took fifty years to get her here into the role she was born to play. She’s most known in Houston for donning a habit and chastising audiences about major holidays as Sister in the Late Night Catechism Series. Yet this show is where she is truly a revelation!

Vincent Victoria is a playwright, director, filmmaker, actor, and fashion icon who has been producing work in the Houston Community for at least the last ten years, probably more. He has written scripts for his theatrical and film company that strive to bring historical figures of the black community alive in plays and movies.

4TH Wall Theatre Company is opening their staging of HAMLET, which is best on the off-Broadway company Bedlam’s recent production. It’s a stripped-down version where four actors play over thirty different roles. But one man in the center only plays the titular HAMLET.

D. Jerome is originally from North Carolina and is described as a formidable triple threat; many of his past shows indicate that. Broadway World writer Brett Cullum got to catch up with him, right before he hits the stage as the Tin Man!

I'll tell you why I decided to do it; then I'll tell you about the toughness, but I read this about 1999, and just loved it. It made the hairs on my arms stand up, especially visualizing the very last scene with the entire cast swaying back and forth, and giving the illusion of them not swaying. You're not sure if they are or not.