Michelle Petrucci - Page 2

Thoroughly Modern Millie, a classic piece of musical theatre in its own right, brings a prohibition-era energy and crispness to the lively set while keeping focus on a simple story of a small-town girl. Whether you go to the theatre for the love of music, dance, story or spectacle, it was all there in perfect harmony on opening night March 7th in Jupiter.

Serving as Director/Choreographer for most of Slow Burn's productions, Fitzwater builds this world as a maddening circus filled with somehow completely relevant freaks of nature.

Recreating this iconic movie on the stage is an ever-daunting task but has been a staple of the regional theatre scene since it closed on Broadway in the mid 1980s. There are not many noticeable adaptations or deviations from the original Comden and Green 1952 film, and this may be an inherent flaw in the piece. Add to that the obvious preconceptions and expectations nearly every theatergoer has upon venturing out to experience a production, and any producer will know they have their work cut out for them. However, there is also something to be said for the ability to trust such a tried and true combination of song and dance that has the promise to delight on a presentational level, at the very least.

A favorite among contemporary musical theatre lovers, Jason Robert Brown's The Last Five Years has been championed as one of his best. After the show opened at the Minetta Lane Theatre in 2002, its original cast recording under the new Sh-K-Boom label spread like wildfire through communities of aspiring young actors and composers, inspiring a new generation of musical theatre. Brown has been recognized as a leader in adapting theatre for modern audiences and creating pieces that are so relatable, they are almost cathartic.

In this retelling of Meredith Wilson's 'The Music Man,' with early 20th century Midwest slang and an almost too quick gift-wrapped resolution, director Mark Martino and choreographer Shea Sullivan were able to successfully breathe new life into a script and score that, especially for younger audiences, could so easily remain stale.

This AVENUE Q delivers exactly what fans of the show expect: a raunchy, shocking humor neatly gift-wrapped and presented under the guise of seemingly cute puppets with dirty minds and no filter.

Without getting political or even all that specifically religious, Actors' Godspell places focus on the ever-growing importance of an accepting and loving community, a message well-received.

Paul Louis and Nick Santa Maria, creators and writers of "Real Men Sing Show Tunes…And Play with Puppets," find a way to appeal to both sexes with clever rhymes, well-timed skits and the occasional shocking curveball.

As eerie candlelight dances across dark walls, two actors create an intensely creepy world that extends past the fourth wall and lures the audience into its chilling tale. With great use of theatrical magic, The Naked Stage manages to transform a tiny black box theatre into a grandiose haunted mansion with the use of slight shifts of light, simple blocking patterns and the dynamic believability of both actors.

An infectious blend of Miami heat and Studio 54 spice, "The Donkey Show" brings the 70s alive by way of an over-the-top, rollicking disco extravaganza.

In a cozy blackbox on the edge of downtown Fort Lauderdale and the well-known LGBT-friendly neighborhood of Wilton Manors, the world premiere of local playwright Kim Ehly's "BaBY GiRL" was welcomed among a warm and supportive audience with a penchant for raucous laughter.

Palm Beach Dramaworks christened their new space on Clematis Street in downtown West Palm Beach with a fresh production of the world's longest running musical "The Fantasticks" on Friday night.