When Director and Co-Choreographer Jordan Nichols first saw and enjoyed MEMPHIS THE MUSICAL, he knew that he just had to stage a production in the city itself; as polished and entertaining as it was, it needed just a little something .
As the curtain prepares to close on the theatre season in Memphis, 'tried and true' standards -- A STREETCAR NAMED DESIRE at Germantown Community Theatre and HAY FEVER at Theatre Memphis -- are competing stage to stage with powerhouse musicals -- MEMPHIS THE MUSICAL at Playhouse on the Square.
On the surface, Hattiloo Theatre's streamlined production of Tarrell Alvin McCraney's MARCUS; OR THE SECRET OF SWEET might seem a variation on a familiar theme: A young man troubled by dreams and conflicted about his identity seems to 'hit a brick wall' when he turns to others to try discover why he
I remember when, in the 1930's Shirley Temple vehicle POOR LITTLE RICH GIRL, poor Jack Haley and Alice Faye had to implore, 'You've Gotta Each Your Spinach, Baby'; and in Circuit's charming (and short) production of PINKALICIOUS THE MUSICAL, with Book and Lyrics by Elizabeth and Victoria Kern and Mu
Just last weekend I saw one of Theatre Memphis' most outstanding musical productions, Stephen Sondheim's INTO THE WOODS.
Stephen Sondheim himself is kind of a 'GIANT,' if you think about it.
If you decide to attend Circuit Playhouse's production of PAGEANT in the next few weeks, and if you find yourself blushing at some of the eyebrow-raising humor, there's no need for alarm: Pink cheeks will blend right in, as the stage, many of the dresses and gowns, and much of the make-up are redole
'I am in blood stepped in so far that should I wade no more, / Returning were as tedious as go o'er,' says Macbeth in William Shakespeare's tragedy of the same name.
At one point in Diana Grisanti's sharply written RIVER CITY, in its final weekend at Voices of the South, an older character challenges the 'education' that a fourteen year-old black youth has received at St.
In Terrence McNally's MOTHERS AND SONS, now playing at Theatre Memphis' Next Stage, there's something out of place in Jack Yates' smart New York apartment set -- and it has nothing to do with furniture.
A GENTLEMAN'S GUIDE TO LOVE AND MURDER must have been a 'labor of love' for Robert L.
Throughout Sunday's matinee of Sharr White's intensely watchable THE OTHER PLACE at Circuit, for some reason I kept thinking of Edgar Allan Poe's 'A Dream Within a Dream' and, particularly, of these lines: 'All that we see or seem / Is but a dream within a dream.
In his Sonnet 116, William Shakespeare wrote, 'Let me not to the marriage of true minds admit impediments' -- and impediments there are aplenty in A.
Let's see now -- older married man with mistress, seething ex-wife, resentful and mistrustful offspring -- where was Dr.
Now that Peter has returned to Neverland and the good citizens of Tuna have returned their yard ornaments to their garages and attics, Green Day's AMERICAN IDIOT has seen to it that all the kiddies need to be tucked away in bed: Playhouse's electrifying production of the punk rock musical odyssey, w
Evan Linder's BYHALIA, MS, a winner of the 2014 NewWorks@The Works Playwriting Competition, came about at an interesting time.
There was a moment tonight in the Orpheum's presentation of NEWSIES that I envisioned the entire production as an animated feature -- and why not? There was the infectious music of Alan Menken, who long ago set the 'gold standard' for the resurgence of Disney animation beginning with THE LITTLE MERM
During the Holiday Season, theatregoers looking to dodge 'fairy dust' and seek for something beyond the shadow of the Ghost of Christmas Future might as well have a Christmas stocking with a hole in it.
