By Ron Levitt

Florida Media News
ENV Magazine

BOCA RATON, FL — Several items one ought to know about Chemical Imbalance: A Jekyll/Hyde Play currently on the boards at the Caldwell Theatre in Boca Raton.

1. It is a spoof, meant to be silly, comical and tongue-in-cheek.

2. Artistic Director Clive Cholerton readily admits he has altered the original script to delete some X-rated, four-letter words which were in earlier productions in San Francisco and elsewhere. That makes it more family-friendly – sort of a G rated look at good and evil. Yes, you can bring the kids!

3. True to its original comic intent, some of the roles are played in drag – with no other reason except to provide a few extra laughs, mostly at the expense of several veteran actors who must play off lines from the voice of a pint-sized actress who looks 12 but in real life is a college grad and steals a few scenes along the way.

Now, with that explanation, our thoughts can revert to reviewing this unusual bit of theatre.

Years ago a college professor warned me to go easy on superlatives in describing an actor, yet “zaniest” and “ most outlandish” come to mind when looking for words to illustrate the clownish, droll, laugh-provoking portrayal of that nutty doctor in the Caldwell’ s newest production , “Chemical Imbalance: A Jekyll and Hyde Play.”

Under the direction of Cholerton, Caldwell has once again gives its audience a special fun-filled evening — this time with a farce headed by the brilliant Tom Wahl. Wahl, who makes Dr. Jekyll’s notorious strangling, potion-boiling medical man one of the most rib-tickling performances one can remember, is filled with physical comedy skills. His every movement brings on a snicker and then a loud laugh. He obviously got his timing tuned to perfection during his national touring of another ‘murderous” play, Sheer Madness. But, in this two hour, non-stop production, Wahl plays Jekyll/Hyde with perfection as he strangles a puppy, a cousin, his girlfriend and gives the most horrific cut of all – popping a child’s balloon!

It’s no use my trying to tell you Robert Louis Stevenson’s yarn about this doctor and his evil potion. You know the story well. But this time, the play’s author –Lauren Wilson – plays the story as a ridiculous charade of the 19TH Century novel.

Yes, Wahl – sounding like Lon Chaney on steroids – will be long remembered after leaving Cholertons’ wild production of good and evil, but he is only one reason to see this production.

The entire cast must have taken “silly drinks” as it comes from behind the curtain. There are a number of zany characters, including John Felix playing Lady Throckmortonshire in drag, sounding a lot like Tallulah Bankhead on a binge. Also delightful is the multi-talented Angie Radosh, as the doctor’s mother, scene-stealer Tifffany-Leigh Moskow doing double duty as the good twin/evil twin (reminiscent of The Bad Seed’s Patty McCormick) — a small in stature, large in talent character, and veteran stars Erin Joy Schmidt, Laura Turnbull and Wynn Harmon. And then there are Amy Elane Anderson and Lindsey Foregey making their Caldwell premieres. The entire cast is in-synch mode to make you chuckle.

Caldwell’s brilliant scenic designer Tim Bennett creates a slide-in laboratory, a luxurious drawing room, and a floating dining room which moves the actors from under the table to seating (well, not really), and he joins Sean Lawrence with sound creations, lighting by John D. Hall (on loan from the Miami Ballet) and costumes run amuck by the imaginative Albert Arroyo. You will exit the theatre wondering how Arroyo ever thought up the colorful and bizarre costumes, especially the gowns and hats worn by Felix. Perhaps he took a sip of Dr. Jekyll’s potion!

The best way to describe this entire production: over the top buffoonery.

Call 561-241-7432 for ticket- appointment with the doctor. He’s available until February 7th

By Lawrence Budmen

The Arsht Center’s ongoing celebration of the 400th anniversary of the city of Tel Aviv reached its zenith on December 16 with a stellar concert by the Israel Philharmonic Orchestra under the baton of violinist Pinchas Zukerman. Canadian cellist Amanda Forsyth (Mrs. Zukerman) joined the festivities for good measure.

The Israeli flagship orchestra is now a world class ensemble, propelled by high precision strings, mellow winds and bright, glowing brass. After four decades under the music direction of Zubin Mehta, this orchestra exhibits the kind of turn on a dime agility that only the very best ensembles register.

Zukerman has become a musically engaged, expressive conductor. He opened the program with an old fashioned, big orchestra version of Haydn’s Symphony No.83 in G minor (in the manner of Beecham and Bernstein). No vibrato less, period instrument models for Zukerman. This was bold, large scale Haydn with both heft and charm. The graceful elegance of the string playing in the Andante, sweet timbre of the flute solo in the Minuet and wry humor of the finale were particularly notable.

After four decades on the world’s concert stages, Zukerman remains a violin virtuosso to be reckoned with. His performance of Haydn’s Violin Concerto in C Major was romantic in the best sense – generous of tone, brilliant in dexterity, aristocratic of line and phrase. String orchestra and harpsichord support dovetailed Zukerman’s superlative display with subtle musicality.

Two beautiful, rarely heard works by Max Bruch – Canzone in B-flat Major and Adagio on Celtic Melodies – were played by Forsyth with lovely tone and fine instrumental command. Only slightly more passion was wanted. Rapport between Forsyth and Zukerman was strong, bringing supple orchestral accompaniment.

The concert concluded with a lush, high energy rendition of Tchaikovsky’s Romeo and Juliet – a fine display of the orchestra’s outstanding musicianship and wonderful finale to the opening performance of the Arsht Center’s new Classical Masterworks series.

By Ron Levitt
Florida Media News
ENV Magazine

MANALAPAN, FL — Florida Stage, which has found its place in the sun by presenting thought-provoking new plays, has done it again! This time, it’s an 85-minute extra-ordinary, intellectually-stimulating production about three smart, tortured souls who seemingly beg for acceptance.

The Storytelling Ability of a Boy by educator Carter W. Lewis is the latest play by the prolific , prize-winning playwright who has introduced several of his works at Florida Stage, including the highly successful Ordinary Nation two years ago.

This time Carter – thanks to the astute and sensitive direction of Louis Tyrrell and an eerie but effective use of sound by technical guru Matt Kelly – introduces his audience to three people (one teacher and two students) who are struggling to “ft in.” The trio, for different reasons, can’t seem to find their place in the social setting of a rural school and their loneliness and misunderstanding trigger a drama filled with violence, sexual confusion and fury.
Seeking acceptance – yet, making it difficult to engage others in their lives – are the teacher Caitlan(Laura Carbonell) and her students: Peck (Marshall Pailet), a brilliant and imaginative writer, and Dora (Bethany Anne Lind), his intellectual sparring partner and best friend. The two students seem too resent the implication that there are things they don’t understand and they release temperament and attitude that can only lead to disaster.

It is easy to give praise to any production which makes its audience think! “Storytelling” is that kind of play. It forces you to ask yourself if you ever knew any young people like these – kids who are far ahead of the ordinary students in many ways intellectually, but who may seems dysfunctional to the crowd or at least misunderstood individuals.

But, this play – as stimulating as it is mentally — is especially notable because of the acting skills of the three performers. And, one will find it difficult not to laud the acting prowess of this trio in making this production so intriguing.

Carbonell is realistic as the teacher trying to nurture her talented nerdy, teenage student. Pailet – as the student with a gift of storytelling well beyond his age and experience — is totally believable in a stunning acting rendition, and the charming Lind – whether mouthing foul-mouthed four-letter words or expressing doubts about her sexuality – uses Carter’s colorful script and language skills to emerge as a star with a bright future on stage. All three are credible New York-based actors who are leaving an indelible mark on South Florida theatre. One cannot help but praise this acting trio for making “Storytelling” so mind-bending. Their acting skills are three indelible and compelling reasons to see this production!
This production runs through January 17. Call 561-585-3433 or visit www.floridastage.org.

By Ron Levitt

Florida Media News
ENV Magazine

CORAL GABLES, FL – It seems as if GableStage’s brilliant director Joseph Adler has collected a bunch of the bright young South Florida acting talent on one stage, melded them with three terrific veteran performers, found a stimulating play about politics and turned the mixture into one of the area’s best 2009 productions.

The only criticism one might have of Farrragut North is the timing of this production about American fast lane political shenanigans. What a coup it would have been to bring this play onstage in the midst of an election year. However, if you are nostalgic for election coverage or a political junkie who thrives on what is going on inside campaigns, Farragut North will be your quick fix, just as it was for New York audiences who received it as a post-election triumph back in 2008.

Written by a knowledgeable political operative Beau Williams, Farragut North (named as homage to the busy Washington D.C. ineighborhood where lobbyists hang out) ) seems to have been scripted as if the playwright had been taking notes on the campaign trail. Actually. Williams was a media expert to several Democratic candidates in recent years. This play is a judicious look at what goes on behind the scenes in the national political arena. Suffice it to say, it rings with the same political reality and fresh accuracy of The Best Man, the stunning play by Gore Vidal which came out in 1960. This is obviously the best play with a political theme since that time.

It’s set against the backdrop of a presidential primary when a young press staffer (Nick Duckhart ) – wise beyond his 25 year chronological age – teams up with a veteran campaign guru Paul (the award-winning, always on target Gregg Weiner ). They are certain that their shrewd manipulation can steer them – with their charismatic candidate – directly into the White House. But, that lust for power is thwarted by a veteran operative of another candidiate (Robert Strain) and a seductive intern (a lovely Betsy Graver ). Then, of course, there is a New York Times journalist ( a terrific Deborah Sherman ) who manipulates politicians and is manipulated in return, That synopsis may be a bit short on its overall content, but that storyline – peppered with its inside look at campaign tactics and the playwright’s sharp, keen, bright script — just about tells it all. Farragut North is timely, interesting and a delight to those who find intrigue or drama in electioneering or ever have been involved in supporting a political candidate,

Artistic chief Adler has put together a fresh and exciting cast. Several members of the cast are fairly recent graduates of the New World School of the Arts (Duckhart, Graver, David Hemphill and David Sirois). Duckhart is on stage almost constantly and his portrayal may well be a break out performance for the young actor. He is so real, so charismatic, that he is totally believable as the young staffer hoping to take himself into the West Wing. Duckhart only recently wowed audiences at Boca’s Caldwell in “The Whipping Man” and in “Torture” at Mosaic – and with this performance in “Farragut” firmly establishes his credentials

And, wait until you meet Graver, who dominates the scene as the sexually assertive intern who takes on supposedly clever politicos. She is stunning! And the two Davids –Hemphill and Sirois — both of whom have supporting roles in this two-hour delight but are in awe of working with this director — could sit well as stars in their own right, a nod to the perfect casting by Adler, the most revered Carbonell winning chieftain in South Florida. Hemphill and Graver recently got glowing notices in “The Glass Menagerie”at Broward Stage Door and Sirois, an accomplished playwright and actor, added praiseworthy news clippings for his starring role in Sexual Perversity in Chicago, a David Mamet play at the Alliance Theatre Lab in Miami Lakes.

Of course, veteran performers such as the soft-spoken but dynamic Gregg Weiner — coupled with Deborah Sherman and Robert Strain – cannot be over looked, even when we praise the newer set of actors. Again, it is perfect casting!

The usual suspects – Sean McCllelland for his managable sets, Jeff Quinn for his lighting and Matt Corey for sound technique — add to the luster of this winning production.

There are all sorts of verifiable news items floating around about the future of this play. The latest one is that Actor George Clooney will take on the filming of Farragut North in 2010, with himself in the director’s chair and Leonardo DiCaprio in the starring role. If so, he probably should consider making Adler his advisor- sidekick to keep it in the “ movie powerhouse” department and consider a trip here within the next few weeks to see how a capable, energetic group of actors make this story so eye-worthy. Such a visit may be an education in professional theatre at its best.

Farrragut North runs through January 24. Call 305 445-1119 for tickets now. Tickets for this show could be in hot demand. You won’t want to miss it.

By Ron Levitt

Florida Media News
ENV Magazine

CORAL GABLES, FL — The theme for most holiday shows, whether on stage or in the movies (such as A Christmas Carol or Miracle on 34th Street ), is “redemption.” But, the most redeeming quality of the musical Another Night Before Christmas – currently ringing in the festive season at Actors’ Playhouse at the Miracle Theatre here is the acting and vocalizing of its two stars – Irene Adjan and Ken Clement.

The two-some of Adjan and Clement are reason enough to celebrate the holidays in Coral Gables. Adjan’s vocal range seems to reverberate throughout the town. She charms as a disillusioned social worker, waiting to get the spirit of Christmas back in her life, and Clement is a comic hurricane, thundering through another story about Santa coming to the rescue.

Directed by David Arisco, who usually provides South Floridians with giant casts, amazing scenic effects and lavish production numbers, Another Night Before Christmas seems to be tied to the economic mess of 2009 – just two actors, yet a surprisingly innovative set by Gene Seyfer, a single piano providing the music (as always well done by Musical Chief David Nagy) and a ho-ho-hum of a story by Sean Grennan and Leah Okimoto, the talented creators of Married ALIVE! which had a successful run earlier at Actors’ Playhouse. But, leave believability at the curb because this is strictly a joyful, holiday fantasy……fun…cuteness…. sentimental appeal — a story with heart…..a combination of all the holiday tales you’ve seen or heard while growing up. Sure. the script seems all too familiar, but one would have to be a Scrooge to dismiss this pleasurable production! And, there is no reason not to bring the kids along for this holiday ride!

But, the main reason to see Another Night Before Christmas is to catch the duet of Adjan and Clement interact and sing. They are two of the area’s most visible and award-winning duos and they seem imbued with the kind of spirit that the holiday season should be all about!

Karol Elliot (Adjan) is a kind, young lady who seals herself off from the world on Christmas Eve. She doesn’t even pick up her phone when her family or ex boyfriend calls. A man—called The Guy — (Clement) breaks into her apartment and goes from being an unwanted intruder to a welcome guest, with amazing powers such as knowing when a phone will ring and who is on the line. This “homeless man” proves to be more than the heroine first believes. And, thus we have the makings of a schmaltzy look at a woman who is redeemed – thanks to Santa and the holiday spirit.

Yes, the plot is transparent. But, who cares? It’s all about feeling good!

The music is adequate although not the kind which you will be humming as you leave the theatre. Actually, the final number – Please Send Me Christmas – has powerful lyrics and when Clement sings Believe In Me, you get the feeling this show may be sending a worthy message to those who have become “too adult” to really get the spirit of the holidays. In fact, the lyrics by Grennan generally stand out – thanks again by the delivery of the two stars.

This show runs through Dec. 27 but not on Christmas Eve. Spend that time with those you love or watching Jimmy Stewart on TV in It’s a Wonderful Life. But first, call 305 444-9293 for tickets at Actors’ Playhouse.

By Ron Levitt

Florida Media News

ENV magazine

MIAMI LAKES, FL – it is always revealing to watch a small, local theatre company produce a well-known play without benefit of big-money-sets and extravagant lighting and sound.  One never knows exactly what to expect.  Despite such budget shortfalls in the technical department, lighting expertise by Skye Whitcomb and recorded music – along with four magnetic  actors – allow The Alliance Theatre Lab  to take over  the Main Street Playhouse’s tiny venue in Miami Lakes  with topnotch quality in a David Mamet revival of the 1970s hit – Sexual Perversity in Chicago. It was this language-peppered play which put Mamet on the artistic map.

This play hits its mark thanks to some astute direction  by  Albert Acevedo  but also  by a cast of  twenty-something actors who explore  relationships  ferociously among the working class in the Windy City circa 1970 and do it with such realism that one may forget he or she is watching outrage on tiny stage set up to reach 50 seats in the audience.   If ever actors deserve applause, it is this foursome “making mad” in  Miami Lakes.

David Sirois,  Travis Reiff, Bertha Leal and Jehane Serralles     are the quartet who find their relationships falling apart because of the caustic nature of their vocabulary – enough profane words to set records for insulting and  arguing in any year.  Sirois and   Reiff  in particular, shine for two different reasons:  Sirois for underplaying his low-key character and Reiff for his volatile performance of the womanizing best-friend. Mamet has always been strong in his male character depiction and dialogue and these two actors – thanks to Director Acevedo – fill Mamet’s character progression.

One might think a 1970s play would not be relevant to the new Century.  But, despite its reflection on a time past, it could be any moment, anywhere as relationships sour.  This production is not played as a period piece, It is not dated, even with outdated references to the Equal Rights Amendment and other cultural highlights.

Mamet’s play originally was all about language and how it can be used.  Is this truly “gutter talk” or is  just “stylized filth” – the way this generation talked!  Like others before, you can decide!’

The plot is primarily about the relationship of Danny (Sirois)  and Deborah (Leal),  who go from sexually attracted individuals to uncomfortable people living together.   Their pals  ( Reiff) and (Serralles)   add to the confusion as they talk about what they consider usual man-woman subjects.  In a nutshell, their friends  help to poison the relationship    This play is perfect for ensemble-size theatre groups with paltry budgets.  It is also a class-A  production to showcase individual actors.

As for the Mamet of 1972, he forces his audience to examine  society’s attitudes toward love and romance, those rebellious years when the idea of a stable, committed relationship had become a modern-day perversity. His ability with dialogue is well-tested in film and on stage.   His works range from Glengarry Glenn Ross, Wag the Dog to his recent mainstream  success, Speed-the-Plow.  Returning to see his earliest success gives theatre-lovers a chance to compare Mamet’s story-telling evolution.

The show runs through Nov.  22.  Call  305.259.0418

By Ron Levitt

Florida Media News

ENV Magazine

The singing – as my grandkids would say – is awesome.  The dancing is near-perfection.  So, what more could anyone want out of a performance of Bubbling Brown Sugar – another of Broward Stage Door’s  truly enjoyable musical productions.

There is no question of just how much the audience appreciated  the rhythmic talent at this Coral Springs musical emporium which — in recent months — has produced knock-em -dead productions of La Cage Au Faux and its rendition of the  Broadway-bound revival, A Little Night’s Music,  Once again, Dee Bunn / David Torres and their  staff at  Broward Stage Door have done themselves proud with a fun musical, even though the storyline is minimal.

It’s the music – some 30-plus hits from the 1920s to 1940s – which make this an event worth seeing.  The cast is good – some, exceptionally good – but it is Director Dan Kelley, Musical Director Mark Goodman and Choreographer Chrissi Ardito who deserve the biggest bows.  Yes, their work is “awesome.”   Their handiwork makes this cast light up the stage.’

Bubbling Brown Sugar is a look at the music which came mostly out of Harlem during a 20 year span.  No matter what your age, you’ll find those rhythm and blues standards  irresistible  and – if you grew up in those days – you’ll come out humming and singing songs you may not have thought about in some time,

No, let’s not take anything away from this cast. All 16 of them sparkle in this seldom-seen treat.   Allison Semmes performs a Duke Ellington torch song so convincingly that the audience rousingly cheered her efforts; Nadeen Holloway, a Carbonell nominee, is a show-stopper with her “The’ll Be Some Changes Made”; and Roslyn Seale’s “God Bless the Child” showed a range of notes oblivious to the recorded music’s normal zone.   Chris Patterson, Rendell DeBose,  Jerrial Young are pure dynamos vocalizing and tapping; John Ramsey and Liz McFarlane are a joy to watch and hear;  and Broward Stage Door regular Marcus Allen continues to show off his amazing talent in song and dance.

Add to our list of budding entertainers  Teisha Duncan, David Menendez, Walter Kemp and a terrific ensemble – Amanda Bailey, Alicia Lawson, Jarvis Manning  Jr, and Shain Stroff  – and it’s the making of a terrific production.

Can  there be any doubt that this production elicits enthusiasm?

This show runs through Nov, 22. Don’t miss it! .  Call 954-344-7765.

By Ron Levitt

Florida Media News

ENV Magazine

The season’s kickoff at the  usually  reliable Florida Stage in Manalapan – has all the makings of a fine story – based on a real happening – the last two Jews left in Afghanistan, living in a bombed out synagogue in Kabul, with high hopes of resurrecting their religious community and finding a Torah  amid a violent war.

The subject seems ripe for sympathetic and enriching scripting, but author Seth Rozin – founder and director of Philadelphia’s Inter-Act Theatre company —  wrote it as a comedy, and  it is being promoted as an odd couple Afghan version of Neil Simon’s Sunshine Boys or Samuel Beckett’s Waiting for Godot. It is neither!  Although the concept of the play sounds interesting (in fact, several writers have tried to pen this true story), somehow – despite two brilliant actors, fine direction by Louis Tyrrell  and a superb set, Two Jews Walk into a War, an 85 minute excursion into what has happened in Afghanistan,  is no laughing matter.

The story – based on two real persons (Isaac Levin and Zebulon Simontov) – made headlines awhile back when Allied forces found the two men living in the Kabul synagouge  shortly after the fall of the Taliban in 2001.  Though the men had family in Israel and the U.S., they stayed on, hoping to rebuild the Jewish community there.  At that time, the media had dubbed them “the last two Jews in Afghanistan.”

Playwright Rozin has taken those headlines and given them some Borscht Belt humor in attempting to show them as two grumpy old men who detest each other. It is played for laughs admirably by two South Florida talented and loved actors (Avi Hoffman and Gordon McConnell) and – not until the final scene – is the symbolism of their attempts to have their faith live on in this devastated land portrayed dramatically or spiritually.

Set Designer Richard Crowell provides a realistic set – rigged to have stone walls and dust exploding onstage in this war zone.  The set drew special praise from the audience.

There are dozens of short scenes, noting the elapse of time, and there are moments when one is in awe of the acting  abilities of Hoffman and McConnell.  But, is this a realistic snapshot of the Afghan Jews?  Don’t  ask me. I’ve never met an Afghan Jew in my life.  So, what do I know?   Perhaps, they do sound like Catskill comedians!!!

Call  561-585-3433 for tickets; performances are Wednesday through Sunday, through November 29th.

by Ron Levitt

Florida Media News

ENV Magazine

There are many reasons to attend the current GableStage theatrical production – terrific direction, topnotch performances, admirable  set and technical showmanship – but most of all, stimulating theatre and quality writing about all-too-real, angry people.

It is ‘reasons to be pretty”  — the highly successful play by Neil LaBute – which is getting one of its first regional openings since it wowed audiences  on Broadway last year. And, this production – directed by visionary artistic chief Joseph Adler — will be around until Nov. 22.

This show by LaBute – a successful screenwriter — is his first play to be staged on Broadway (a Tony nomination) even though he has written a string of notable works including The Shape of Things and Fat Pig which have been seen locally as well as nationwide.   This latest success seems to be the final installment of a trilogy which focuses on our nowadays obsession with physical appearance.

‘reasons to be pretty” centers on a working class foursome who are friends and lovers  who begin the realization they are trapped in dead-end situations.  That may over simplify the intense script, but those who recall seeing productions of LaBute’s other plays produced at GableStage will be astounded on the realism of the script and may even have to admit that they  know people (especially young people) in such situations.

This play pulls no punches with vocabulary.  A wonderful Erin Joy Schmidt opens the show with a blistering attack, filled with four letter words and other expletives that may surprise and make uncomfortable even veteran audiences of LaBute plays. The opening scene is pure fireworks (with Schmidt attacking her boyfriend Greg (Ricky Waugh), at full throttle, with every epithet one might hear in a lifetime. Even a  salty, ill-mannered, sailor friend I recall from my Navy days would blush!

But, it also pulls realistic punches as two friends – played by the brilliant young actors  Waugh and Todd Allen Durkin – finally come to blows   in one of the best fight scenes we’ve seen on local stages.

Meanwhile, Amy Elaine Anderson is a pregnant lady who thinks (and smartly knows) her man is playing around with a hot number from the factory where he works.

This play really grabs your attention.        The language may make you squirm; the characters may make you think; and – as the anger spills out – you may wonder whether it reminds you of anyone you know – not necessarily a blue collar crowd —  but anyone in your living experience.

So, hail to LaBute, This is more intense in anything he has written before  and the superb foursome which bring this play to life at GableStage makes one realize how such anger in individuals and dissatisfaction with their life can spark so many situations.

We would be remiss in not emphasizing how these four characters elicit compassion from a thinking audience.  Everyone wants a better life  — but to visualize how some people are trapped in their situations is a downer in one regard yet uplifting in the fact that they face such reality and try for something better.  LaBute sends a powerful message and queries his audience!

Director Adler once again has a quartet of super actors at his disposal.   Ricky Waugh is a standout. He gets better (if that is possible) in every show he’s in.   Todd Allen Durkin,  mucho award-winning actor, once again shows why he is a South Florida favorite;  Amy Elane Anderson is perfect as a security guard/soon to be a mother who is coming of age with serious questions.  However, Erin Joy Schmidt – who lets loose on her boyfriend when she learns he has described her as “regular” –  is a complete  knockout as Waugh’s girlfriend.  That one could consider Schmidt ‘regular” is questionable but it certainly makes you wonder about the importance of physical beauty.

And, that may be what it’s all about!

A final note on the script and the acting,  When Schmidt’s character lets loose in a crowded restaurant a catalog-full of everything wrong with Greg’s  (Waugh’s) appearance – body parts all included – it is a riveting moment.  It makes for great theatre, no matter how uncomfortable such a scene might be in real life.

Kudos  to Lyle Baskin for the set; Jeff Quinn for the lighting; Matt Corey for the sound and Ellis Tillman for the factory attire of his characters.

Call 305-445-1119.  It could be the hottest ticket in town!