BWW Review: Theatre Under The Stars' ELF is a Feel-Good, Festive, Family Holiday Treat
I first saw ELF when TUTS produced it back in 2013, and last year I had the absolute joy of working on a production of it at Queensbury Theatre.
The latest reviews and critic recommendations from Houston.
I first saw ELF when TUTS produced it back in 2013, and last year I had the absolute joy of working on a production of it at Queensbury Theatre.
In the thick of the holiday season, there are generally two camps of seasonal shows in the repertoire of our Houston theatre scene: those that indulge the festive, heartfelt genre of holiday classics, and those that provide an alternative.
Vincent Victoria has made a name for himself by recreating black female icons that loom large over our cultural imagination.
Claire Barron's edgy comedy/drama centers on a small, slightly dysfunctional family and their problems, the biggest of which is a massive storm system moving relentlessly their way.
The Nutcracker is beloved for many reasons; the endless eye candy, the dynamic score, and the marriage of artistry and excellence.
It was amazing to see DEAR EVAN HANSEN with an enthusiastic audience.
World Series tickets may have been the hottest tickets Tuesday night, but they definitely weren't the only tickets in town.
It wasn't the comedy of broadcasters who have absolutely no information to share but share it anyway that stayed with me, nor was it watching each of these characters disintegrate into their lowest common denominators as they desperately cling to order.
4th Wall Theatre Company's production shows a lot of love for Tennessee Williams, and they have thrown a ton of resources behind it.
Theatre Under The Stars' Spring Awakening does more than entertain its audiences.
Is it possible to be released from the bondage of suffering, while still in the midst of it? How often does sufferinga?'past or presenta?'grasp hold of our entire being, making it near impossible to believe in the goodness around us? The World Premiere Adaption of THE HIDING PLACE asks us these ques
Director Julie Kramer and choreographer Jessica Hartman have stayed true to the 1975 vision, but also managed to make it more energetic and faster paced.
To the delight of the audience she covers horror movies, several ghastly tales of the saints, and even unleashes a fashion show where you can dress up as an unlucky martyr to go trick or treating.
In 1996, Jonathan Larson's rock-opera RENT changed the landscape of American theatre.
This one has everything you could want - broadly drawn characters, exotic settings, and a spectacular murder with no shortage of suspects.
As the biggest musical A.
The director has decided to look at the more giggle-worthy elements of PRIVATE LIVES, and has avoided some of the darker implications of this Noel Coward classic.
Some people will love this one, but I found it theatrically stunted and a bit offensive in that it would be funnier if I were far more conservative.
We struggle as humans to fit in and be enough at any given moment, and that's the lesson Lena Horne offered the world and herself.
ALADDIN is a vibrant kaleidoscope of extravagant costumes, choreography, and vocal performances.
You have ten plays with ten sets, ten casts, ten directors, and ten different playwrights.
Dequina Moore is a marvel as the titular role of Josephine Baker.
It feels curatorial now, a gorgeous museum exhibit that we are intrigued by decades later.
JEROME ROBBINS' BROADWAY pays tribute to a brilliant choreographer and becomes a testament to the enduring history of great Broadway shows.
It might be that the directors were looking for something of 2019 in 1985's A LIE OF THE MIND.
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