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Review: JESUS CHRIST SUPERSTAR at Jacksonville Center For The Performing Arts

Jesus Christ Superstar opened at the Jacksonville Center for the Performing Arts on Tuesday March 21st. The groundbreaking Andrew Lloyd Webber musical first opened in 1971 and has been rocking theatre since. The musical is roughly based on the Gospel’s accounts of the events leading up the crucifixion of Jesus Christ.

Cheech & Chong Origin Film in the Works

Todd Lieberman’s Hidden Pictures has acquired the highly anticipated Untitled Cheech & Chong Project. Written by Danya Jiminez (“Ren & Stimpy”) and Hannah McMechan (“Ren & Stimpy”), the project is a never-before-seen look into the origin of the iconic comedy duo. Kristian Mercado (If You Were the Last, Michael Che: Shame the Devil) to direct.

Marchmont House Unveils 2023 Plans

Coinciding with the launch of their new website, Marchmont House have unveiled the first events as part of their 2023 season.  The range of events on offer are designed to bring people together to celebrate creativity – this ethos lies at the very heart of all Marchmont’s endeavours, from its public events to its unique artist residencies and on-site studios.

Review: THE WRITER at Théâtre Des Capucins

This weekend, Broadway World attended the premiere of The Writer, hosted by the Théâtre des Capucins. Directed by Claire Thill, the play goes over gender and interpersonal dynamics in the world of art and in society as a whole.

Review: Shakespeare's Merry Wives Get the Best of a Grand Michael Volle in Verdi's FALSTAFF

Combine a supreme farceur with a stentorian voice that thrills and you get baritone Michael Volle’s portrayal of the title role in Verdi’s FALSTAFF, which breezed into town late last week for a limited run at the Met. While we’ve had dramatic singers in the role before, they were mostly from Italian repertoire; I don’t know when the last time a Wagnerian--a Wotan from the Ring, for instance--took on this role around here, but Volle did himself proud.

Review: VANILLA, VAULT Festival

Laura Mead writes with prudish humour while Keith Swainston directs her, Ned Wakeley (Dan), and Scott Henderson in a production that’s almost as uninteresting as Katie and Dan’s sex life. Mead’s script is as traditional as the missionary position, but wishes to be as funny as an inappropriate joke at a funeral. She gives her character a silver tongue and wit for days, and she’s great at delivering too, but the plot is awkwardly stale in its predictability.

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