Remember the one about the man believed to be crazy and the associated themes—pondering the questions of who is truly "crazy" among us and whether passion and individuality can be mistaken for derangement?
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Playwright Bill Robens, who previously focused his satiric lens on classic Charles Dickens ("A Mulholland Christmas Carol") and Irwin Allen disaster flicks ("The Poseidon Adventure: The Musical" and "The Towering Inferno: The Musical") now goes after film-noir private-eye melodramas, with rib-tickling results.
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Imagine Les Stroud's "Survivorman" repurposed for the "Dora the Explorer" crowd and you have a clear picture of "Life on a Desert Island."
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Is it possible this Sam Shepard piece deserves the label of "theatrical warhorse?" Considered gritty and cutting edge at the time of its 1980 premiere, this tale of two brothers, complete opposites, who collide head-on, seems somewhat pedestrian in this day and age.
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Saint Joan of the Slaughterhouses
Brecht's play was undoubtedly meant to provoke. Under the direction of Michael Rothhaar, this production of it does so, indeed.
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The story is timely, although it probably always has been. The rich get richer—by their indifference or their scheming—and in this case they also have the babies.
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This "Drag Queen Romantic Comedy Musical," written and directed by David LeBarron, with songs by Abby Travis, was conceived as a tribute to drag divas Misty Cologne and Sabrah Summers, who died in 2004.
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"This is a story of boy meets girl. But you should know, up front, this is not a love story," says the sardonic narrator.
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Written, directed, and performed by David Collins and Shane Dundas, "Speedmouse" is a wonderfully wacky fusion of mime, slapstick, and standup comedy.
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"Public Enemies" is really a showcase for Depp and Bale, who brings dimension to the strait-laced Purvis. Crudup makes a fine Hoover; among the other lawmen, Stephen Lang does a good job toward the end as Charles Winstead.
