The problem, it seems, is this: Huey has come to believe his manhood was stolen three years ago by his ex-wife, Janice (Erin Edgerton), and he can’t move forward with his life until he woos Janice and gets her back.
The subtitle of “Taking Care of Mimi” is “A morality murder mystery.”
“The Do Over” runs only about an hour, yet never seems rushed. The story has a beginning, a middle and an end, but just when you think it’s all wrapped up, along comes a sweet little coda.
In the interest of full disclosure, I feel compelled to reveal, before critiquing Meadow Brook Theatre’s new production of “Xanadu,” that in 1980, a certain 9-year-old girl – ahem – fell wildly, stupidly in love with the much-maligned movie flop of the same name.
Written and set in the 1980s (although it takes a while to realize it), the play bears a certain resemblance to another funny holdover from back then: David Letterman’s Top 10 list.
There’s trouble lurking behind closed doors of the convent.
Tipping Point Theatre’s production of Ivan Menchell’s “The Cemetery Club” features a leading ensemble that has that chemistry down; what they lack is a script that feels like more than an occasionally funny, warmed-over sitcom.
MOT, even in the toughest of financial times, continues to produce singular opera, beautifully cast, a dynamic orchestra and one of the best choruses one could ask for – at the top of Michigan’s cultural pyramid.
“Avenue Q” is a counter-cultural poke at its inspiration’s incessant optimism. Regardless of the puppetry involved, this ain’t kid’s stuff. Both in song and story, the musical is profane, bawdy, and occasionally raunchy.
The scenes between him and Yoo play out like the sentimental melodrama of opera – deliberately, since it is through this medium that they meet, and Puccini’s “Madame Butterfly” acts as a cultural blueprint for the whole play.