Trevor Durham - Page 3

The well-oiled machine Manuel has created in his Spring Awakening is a small miracle in the intimate space, showcasing the truly remarkable cast.

Returning-MNM director/ choreographer Kimberly Dawn Smith's smart attention to the wondrously strong cast, and obvious love of the absurdity, power her Spamalot through the few brief stumbles to deliver a side-splitting evening.

The destitute society J. Barry Lewis delivers from his cloudy Inishmaan general store is sadistic comedy in highest form.

Slow Burn's AIDA will change your life and move your heart along the Nile, thanks to the phenomenal cast and masterful technical work.

Drag queen phenomenon Bianca Del Rio spent nearly two hours exploring her infamous 'rolodex of hate' to Tampa's receptive crowd, still managing to shock and surprise in her tour's final legs.

Fitzwater has finally gotten his chance to deliver Big River, a production dazzling in its music and performances, showcasing a wild range of talents that give this American musical the most American feel a show could hope for.

Keelor is a pure ball of sunshine with the performative strength of a bomb, even as she raises a son and tours the world.

Opening Nights of Florida State University will be presenting a special performance of Twyla Tharp Dance to celebrate their 50th anniversary.

Davis' production of Private Lives is a romantic journey of love that delivers the wit and charm of each lover with a lot of laughs.

Erin Pittleman has taken the rock musical to the mainstage of the Lake Worth Playhouse, and despite some awkward staging and jagged transitions, the performances of her biggest players keeps the production rolling.

Carr's Anna in the Tropics overwhelms in delight that simply cannot be denied, through exquisitely emotional performance and a literary script that dashes Cuban-American culture into the canon.

An a capella concert will present the premiere tour of Vocalosity to Tallahassee audiences, with the help of local group Mane Event.

Director Patrick Fitzwater has grasped the drama of the cold, dark tale to present an almost operatic tragedy and a roaring score only he could wrestle onto the stage.

A two and a half hour marathon of absurdism, clever dancing around endless prop pieces, Peter and the Starcatcher is the most intriguing theatrical experiment an audience could have ever envisioned from such a colorful flight to Neverland.

Director Matthew Watson presents an unabridged production of Miller's classic, with strong performers and supporting tech.

Director Melissa Findley tackles a test of cunning, wits, and nuance.

M.F.A. Candidate Sarah Lucas takes a controversial script in a strong direction to present a great show.

Director Daniel Eilola fixes a flawed script to give strong female leads.

Once in a very rare moment do you see community art shine, shine like a diamond in the rough, shine like nothing you could have hoped to find there. Rarely can one expect to find New York quality shows in a space outside of the great white way, perhaps Boston or Chicago. Not Broward, never Broward. Some blessings reach far, in the figure of Patrick Fitzwater and Slow Burn Theatre, opening their bright new season with a shock. Under a very exclusive contract, Fitzwater and his team are premiering The Hunchback of Notre Dame, a Disney produced show with only four productions ever produced. The score is one of the most challenging and daunting ever written, the characters dark as Victor Hugo's original novel, and technical nightmares never seen in south Florida. Somehow, through the magic of his performers (and a full choir), Fitzwater puts on a premiere that rivals New York, a show that most have never seen before, certainly one of the greatest productions the state has ever seen.