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Theatre Reviews

A beautifully staged and wonderfully acted ­communications breakdown

Written in 1980 by Brian Friel and set in a fictional village in agricultural Ireland in the early 1800s, Translations deals with the imperialism of encroaching England, the tradition of language and the refusal to compromise that tradition for communication’s sake. The Masqueraders’ production is beautifully staged and wonderfully acted, which makes a questionable artistic choice all the more unfortunate.

Can you stretch your comfort zone into 18th century debauchery?

Give The Theatre at Anne Arundel Community College credit for refusing to play it safe, for going out on a theatrical limb in its choice of productions.     Last spring’s Bloody Bloody Andrew Jackson, as complex and raucous as any musical you’ll see, was a case in point. The current Les Liaisons Dangereuses is another example of the theater’s propensity for asking itself, and its audiences, to stretch beyond their comfort zones.

Cast, staging and pace threaten to leave you breathless

There is nothing like the rat-a-tat of briskly delivered dialogue to transport an audience to a different time and place, and Colonial Players is currently doing the job atop the broad shoulders of Aaron Sorkin’s A Few Good Men.

Hearts beat in time with the building suspense

Twin Beach Players’ Halloween season production of the eternally terrifying Legend of Sleepy Hollow took seven months in the making — from spooky sound effects to thick fog and period costumes to uniformly spot-on acting.     Eerie sound effects help transform a gymnasium into the town and forest of Sleepy Hollow, where I edged forward on my seat as suspense built to the hair-raising climax.

Song and dance liven up the first book of the Bible

Family legacies of love, anger and rebellion define Shakespeare, fairy tales, soap operas and the oldest story of them all, The Book of Genesis, recounted in 2nd Star Productions’ Children of Eden with exquisite beauty. This is a show the whole family will love by Stephen Schwartz, creator of Broadway legends Godspell, Pippin and Wicked. Heart breaking and humorous, it recounts Genesis in songs ranging from lyrical ballads to pulsing dances, Gospel and even soft shoe.

See what's coming to a stage near you this season

2nd Star Productions’ Children of Eden Parents and children have butted heads since the beginning of time. In this Bible-based musical comedy, the characters of Genesis butt heads with their Father, in a tale of the loving — but not always obedient — bond between children and parents. Playing Sept. 26-Oct. 25: FSa 8pm; Su 3pm at Bowie Playhouse at White Marsh Park, Bowie; $22 w/discounts; rsvp: 410-757-5700; www.2ndstarproductions.com.

There’s a window of time when things must happen. If we let that window close, it’s gone and we don’t get it back.

Fasten your seatbelts as we blast off for Colonial Players’ 66th season with Rocket Man, Steven Dietz’s 1998 serious comedy about the road not taken.     Act I counts down like a comedy sketch with a disturbing undercurrent.    Act II is a space shuttle with frequent stops between grim reality and a fifth dimension of beautiful and bittersweet extremes where life runs backward and youth presages the end of possibilities.

Always look on the bright si-ide of life …
 

     There are two kinds of people in this world: Those who get Monty Python, and those who don’t. The dividing chasm is willingness to accept silliness. Python’s humor is physical (Google Silly Walk), yet it has an underlying winking, silly intelligence that the don’t-gets … well, don’t get.

Plenty of solid hits light up nine innings

     Colonial Players’ One-Act Play Festival has been a biyearly summer event since 1999. This year’s installment, THIS AND THAT, presents nine plays across two slates, THIS and THAT, running on alternating dates. The Festival is an occasion for novice directors, production staff and actors to produce known and unknown works under the tutelage of seasoned mentors.

The formula for the chemistry of commitment

     I Do! I Do! has been done over and over in community theaters, repertory theaters, dinner theaters and church basements since it closed on Broadway in 1968. One reason is that its two-person cast and simple single set of a four-poster bed make it far easier and less expensive to mount than the typical big-cast-and-chorus musical, thus very attractive to those looking to bring in an audience at relatively little cost.