In its essence, theatre is storytelling. Storytelling the way we long for it as children, told from an expressive human’s lips in the room, where you can almost feel their heartbeat.
Lauren Gunderson’s The Revolutionists takes place during those best and worst of times: the French Revolution, which cast off the crown, and the Reign of Terror, which lopped off heads.
Every now and then there’s an opportunity to see a performer at the top of their game—the perfect role at the right time that showcases the fullness of their talents and skills—and it’s a joy beyond measure to be in the room with someone having the time of their life who in so doing gives you the time of your life.
The 1982 musical Little Shop of Horrors could not be made today, but I’m not 100% convinced that it could have been made in 1982, either, at least not on Earth.
“Oh, sweet mystery of life, at last I’ve found you!” sings the young Dr. Frankenstein’s adorable madcap fiancée in a most hilarious and profound climactic moment of passion.
The musical “Little Shop of Horrors” originated 40 years ago as a quirky idea nobody but its creator thought would work.
At first, to Penelope Baxter Ragotzy, Barn Theatre was just a name on a T-shirt. Ragotzy was a student at San Jose State University, where she studied under Donnamarie “Dusty” Reeds. Reeds wore the shirt, which advertised a theater near Kalamazoo, Michigan.
Gene Wolfe wrote that an exaggerated solemnity always indicates a lack of faith. Such solemnity can often be found among pilgrims traveling to the highest slopes of Mount Art.
My sainted mother has advised that, when her time to die comes, she will wander off into the woods in order to spare us distress. Never mind that we won’t know where she is until a bear is found holding aloft the remains of her head.
There are a few jukebox musicals that actually improve upon the songs that make up the score. Rock of Ages transforms the hits of ‘80s rock with delightful cleverness, stringing them together with a silly story and terrific arrangements.