“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.
There’s trouble lurking behind closed doors of the convent.
“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 out-of-theater experience includes the lot at Detroit Farm and Garden and the plaza of the Bagley Street Pedestrian Bridge, the weak bandage on that battle wound from technology run amok, I-75.
The humor is distinctively off-the-wall and runs the scale from sophisticated wit to gags that will thrill 14-year-old boys. It is accompanied by a surprisingly unified musical score.
If “Spring Awakening” is a cautionary tale, reminding us that ignorance is dangerous, it also holds out hope that one can stand up to tragedy and emerge battered, but not beaten.
The musical in not a rehash of the film. In concept and design it stands on its own. As for the plot, it is so much a part of the common culture, summary is unnecessary.
The Ringwald Theatre in Ferndale is hosting an informational meeting for anyone who is interested in directing a short play as part of this year’s Gay Play Series.
The characters Zolidis has created for “White Buffalo” are utterly compelling. None of them is based on stereotype.
“Dead and Buried” is a quirky play, and not just because it’s set in a cemetery. Part comedy, part drama, part mystery, it features three fresh, engaging characters but a rather thin plot.