“Catch Me If You Can” tells the true story of Frank Abagnale, Jr., a young man who created a number of identities and conned millions of dollars.
All-in all, “The Book of Mormon” is blessed with a tight-knit, energetic and highly skilled cast – and when combined with the expert work of the musicians and behind-the-scenes technical craftspeople, the result is one heck of a fine and entertaining show.
Playwright Andron lays it on pretty thick in “White’s Lies,” which is something like a French romantic farce with 35 percent less door-slamming.
Importantly, it’s worth noting that good watching is not always easy watching: There is more strong language and vulgarity here than in your typical Hilberry production.
It is a sad but satisfying portrait of four generations of dysfunctional family, underscored by the symbolic gloomy weather that each of them suffers under.
“People coming out of the theater all the time come up to me and say ‘I wasn’t in the Christmas spirit before the show, but now I am,” Mahard said.
At the Ringwald, sit back with the assurance that the artists think the source material is as tacky as you do.
Michigan Opera Theatre, debt retired, the future secure, bubbled like fine champagne with wonderful voices in the 42nd season opener.
Those of us who are passionate about our politics, but don’t fit in the one-dimensional spectrum between “red” and “blue” don’t need superficial debates to appreciate playwright Stephen Padilla’s cautionary theme.
The word in question is “folle,” as in “La Cage aux Folles,” the award-winning musical beginning a run at the Fisher Theatre.
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