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Theatre Reviews

The best of times and worst of times brought to vivid, emotional life

The most famous first lines in literature — “It was the best of times, it was the worst of times” — may make you fear you’re in for a dry history lesson.     Not so with Annapolis Shakespeare Company’s A Tale of Two Cities. As soon as actor Brian Keith MacDonald follows that opening, you realize this production is going to be about the fire of feelings, not the dust of historic facts. Thereupon, it becomes impossible not to go with this revolutionary ride.

Area premier gives the popular film a song-and-dance twist

Catch Me If You Can: The Musical, an area debut, is a song-and-dance celebration of the lovable conman, Frank Abagnale Jr. (Ron Giddings), and the FBI agent who caught him, Carl Hanratty (Joshua Mooney). The fugitive traveled five million miles impersonating an airline pilot, a doctor and a lawyer and cashed $1.8 million in fraudulent checks — all before turning 21.

Counting future stars

They’re gaining on you, Angelina Jolie, Leonardo DiCaprio, Jennifer Lawrence and Daniel Day Lewis. The talented teens of Twin Beach Players are hot on your heels as the next generation of rising stars.     See for yourself in Twin Beach Players’ Youth Troupe production Sherlock Holmes and the Most Amazing Case!

Tribute strikes a chord

Think of the music of Johnny Cash, and many hearts respond to his evocations of love, faith, family, tragedy and redemption. Think of Johnny Cash himself, and we remember a fallible and gifted man who wrestled throughout most of his 71 years to overcome powerful personal demons. There’s not one without the other.

Shakespeare, thy chauvinism doth wear thin

O, Shakespeare! Why didst thou write such a play? Why doth any company still perform it? Forsooth, it hath some enduring one-liners, despite being one of thine earliest works. Yea, thou wert the first to say Love is blind and I am but a fool. But really, thy chauvinism doth wear thin.

Figuratively and literally, this show is Looney Tunes

Don’t say you weren’t warned. Colonial Players is forthright about Why Torture Is Wrong, and The People Who Love Them, the unconventional “arc” show offered to make the theater-in-the-round better rounded. Marketing Director Tim Sayles calls this “raucous and provocative” show an “ideologically pointed black comedy by America’s master absurdist playwright,” Christopher Durang. Well and good. A political commentary on post 9-11 paranoia could be hilarious — except I only laughed twice. Admittedly, I was in the minority.

The music is timeless as life ­imitates art

Is it life imitates art? Or art imitates life? Either way, when Kiss Me, Kate hit Broadway back in 1948, winning a Tony Award, it marked the first time that Cole Porter’s music and lyrics integrated into a stage story, moving beyond showcasing Porter’s clever musical banter to pushing the story along.

Whodunnit? Ask the audience

When Charles Dickens died 145 years ago this month, he left behind an unfinished novel, The Mystery of Edwin Drood. Release was scheduled in a dozen installments between 1870 and 1871, but he finished only six. Afterward, it became a bit of a cottage industry to take on the novel’s completion, including deciding which of Dickens’ characters was responsible for the murder of the title character.  Would-be Dickens met with varying levels of success. One that turned out quite well is the version that kicks off Annapolis Summer Garden Theatre’s 50th season.

Another Classic-Lite premieres

Two summers ago, the Annapolis Shakespeare Company offered a new concept in dinner theater: Comedy in the Courtyard at Reynolds Tavern, featuring modern adaptations of classics from the Enlightenment. Satires such as Molière’s Tartuffe and The Schemings of Scapin, performed by comely professionals with a flair for punny couplets, found audiences as hungry for bawdy barbs as they were for shrimp and grits.

Set to music, Oscar Wilde is twice as funny

It’s ironic that when Oscar Wilde’s The Importance of Being Earnest premiered in 1895, many critics loved its humor but were taken aback at its lightness, its refusal to take on heavy social or political issues of the time, as most dramas had done. The irony is that it’s exactly this drive to escape the heavy responsibilities of “position” that impel Jack Worthing to create an alter ego, Ernest, through whom Jack can live a life untethered by the demands of position.