By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
Shields dominates, even to the extent that his Western-influenced jewelry is on sale in the lobby. The earrings look especially nice; it's a shame you have to buy a ticket to get at them. Maybe he should put his glorious show business past behind him and nurture his paintings and crafts in his Arizona home; his newest concept A adding irritating sound effects to mime A certainly doesn't work, a fact this show emphatically proves. Yarnell reportedly works with physically challenged and problem children in her dance studio in Arizona, a much more worthwhile effort than the one she's making now on stage.
Playwrights take note: Key West's second annual theater festival, slated for September 22 through October 3, wants to develop some totally original work. Festival co-director Nancy Holtkamp points out that "Tennessee Williams, Truman Capote, and Ernest Hemingway all lived and worked here," so if you nurture the dream of joining such company, write for additional info to the Key West Theatre Festival, PO Box 992, Key West, FL 33041, or call 305-292-3725.
The ever-so-slowly and carefully emerging Miami Skyline Theatre finally announced its company members for the first season and the shows in which they'll perform. The inaugural season opens November 26 with You Can't Take It With You, the Pulitzer Prize-winning comic classic by Moss Hart and George S. Kaufman. Next comes a new musical called Lucky Guy, about a star rising to the top of the recording industry, followed by the powerful shocker by Ariel Dorfman, Death and the Maiden, given a stunning play reading by the Skyline at New Theatre last year. The season closes with Once Upon a Mattress, that old singing Princess and the Pea thing. Maybe they'll do something good with it. Best of luck to the Skyline, and congratulations to the local actors, dancers, and singers who won a steady place in this promising new company.
When a play can work as a laugh-filled evening or as a dark glimpse into hopeless lives it represents dramatic writing at its finest.