Attention all you Broadway producers out there … or even you wanna-be producers … or just people who love to laugh, you'll want to head on down to the Jewelbox Theater at the Rendezvous to catch two comedy savants educate us with some historical fiction with "Gutenberg! The Musical!" But maybe
Back in the day when I was a mere fledgling musical theater geek I was introduced to the show 'Dreamgirls'.
'An American in Paris' is one of those films that, when you mention it, people who have seen it give a contented little sigh.
I've never been a fan of transplanting classic works such as Shakespeare to "new and exciting" locales and time periods but I have seen it work as long as the adaptation enhances the existing story somehow or at the very least makes sense with the story.
Last night musical theatre nerds around the Seattle area may have felt a disturbance in the force as if there was a diva among us.
If you're going to riff on a classic, then have something to add to the conversation.
You may remember, Dear Readers, my lack of affinity for performance art.
First off, Dear Readers, let me explain that you will see no singing Ice Princesses or wacky snowmen in this show.
Way back in 1991 a young fledgling theater geek saw a performance from the new musical "The Secret Garden" by Marsha Norman and Lucy Simon on the Tony awards and he became obsessed with it.
A few years back on one of my trips to New York, pretty much anyone I talked to about what shows I was seeing was aghast that I wasn't seeing 'Here Lies Love' Off-Broadway.
In Keiko Green's 'Nadeshiko', currently getting its world premiere from Sound Theatre Company, there are two stories happening on the stage.
Expect to be killed when you attend the current production of "Murder for Two" at ACT Theatre in conjunction with The 5th Avenue Theatre.
Anytime a theater does a one person show it's a risky proposition.
In this ever-changing society of ours it's nice to see shows that take a look at different kinds of love and families.
There's the old adage in any kind of entertainment that if you have a strong finish, the audience can forgive some pitfalls that may have come before.
There's a well-known TV and Film writer who has a reputation for those quick witted, fast paced banter conversations (sometimes in the halls of the White House and sometimes while creating a social media platform.
It's fine to be in the audience's face and have a scene's energy turned up to 11 but when you do it for the entire play, it gets tiring.
I want to start off, Dear Readers, by stating that I really did enjoy ACT's current production of "Tribes".
A play like "Milk Like Sugar" about three teenage girls making a pact to all get pregnant while still in school would be a ridiculous premise if it weren't for the fact that it's based in reality.
Shows like the musical version of "Little Women" require a powerhouse cast in order to survive.
