Brett Cullum

I don’t think you are going to find a funnier TAMING OF THE SHREW easily. Director Dana Bowman has lucked out to get the cast and crew that could pull this off, and she had extreme insight into how to handle the problems the show represents to women today. You will laugh, and you will find it a delight. Sitting through TAMING OF THE SHREW was never a chore, and I was enchanted from start to finish.

STAGOLEE AND THE FUNERAL OF A DANGEROUS WORD is a wonderful meditation on the power of words, folklore, and the human condition. It soars and becomes electric any time actors TiMOThY ERiC and Seth Carter Ramsey confront each other. It has a power and heft you do not see in most theater. It goes to an uncomfortable place and will stick with you for days later. It’s one of those pieces that you can’t shake off, no matter who you are or how you use your words.

What drew me to the show was what drew me to the work that Catastrophic Theatre does in general. They do work that nobody else does. Work that's largely unexplored in our region, or in our country, or whatever. I'm drawn to that kind of stuff, and Sarah Kane has a unique view of love and human relationships. And I share some of those ideas.

Part of the genius of THE OUTSIDER is it is pure farce. Characters and plots are played larger than life, and doors constantly swing open with new surprises behind them. We’re not in the sturm and drang of THE WEST WING, but rather the territory of a silly sitcom like VEEP. Physical comedy, verbal banter, and just plain stupid stuff happens, and this cast is up to the challenge of delivering all of it. The director has found some of Houston's funniest, most likable actors.

I think the biggest thing I wanted to focus on was not making it like a character and not making it like some tasteless impression. Because I don't know. It's not necessarily what the show is about, and the three of us do a really good job of “a hint of Cher.” But there's still us!

Patti Lupone has always known how to merge pop culture with her theatrical training, and she can craft a story around any song she chooses. And that is why we come, to hear the storyteller tell her tale.

Any production of a show has to do with relationships. These actors are here because they believe in Tracy and Kara. Most of them have worked with me last year, so hopefully they believe in me, too. It is a little bit of sacrifice all the way around, and that's sort of how a lot of theater gets made.

It’s fun, a bit quirky, and has a Fellini-sized cast that should make your head spin in all the right ways. Apparently, it takes an army to make a diva, but then again, is that a surprise?

Malinda L. Beckham has always been a master of directing testosterone-fueled plays where men fight and abuse each other. She and her cast bravely take on Martin McDonagh’s script and make wise decisions. The pace is breakneck, never allowing the viewer to wallow much in the muck. She brings out the black comedy and never seems to fear that aspect.

THE NERD is frankly still THE NERD, and the director, Brandon Weinbrenner, doesn’t reinvent much of anything. There’s nothing new or fresh, and the script is presented almost as if it would have run back in 1981. There is no discernable reason to remount this show save for the idea that it was fun back in the day.

I just am so grateful. Stages really produced this one for me. So I'm super excited about that. That I could give this to this theater community, and for the rest of the world to know forever and always. That Irish Catechism originated here in Houston, and it will be developed here over the next six weeks, judging from my last preview performances and opening last night. This one is next level, next level!

IT IS MAGIC is far from false advertising because this play, this cast, and this team make some pretty strong magic from Mickle Maher’s latest play. Just sit back, relax, and let it all wash over you is my advice. It’s funny, it’s quirky, and it is unlike anything else you are likely to see anytime soon. CATASTROPHIC THEATRE has always promised to destroy us, and they seem to be inching closer and closer… and closer. This is the next step in their nefarious plan.

We've got a really big show planned. We've got a cool set. We have an amazing light design. We have all kinds of cool costumes. I've got backup dancers and my friend Andrew, who I wrote music with over the past eight years he's come on as my musical accompanist and sort of sidekick foil in the show. So it's a one Queen show, but it's actually four of us in the show, counting two dancers, Me. And my friend Andrew and we've written all the music, and I sing all the music and wrote all the lyrics with Andrew.

It's me, and I have a band. I sing songs and tell stories all under the theme or the umbrella of getting older, and what is age appropriateness, and things I've noticed about getting older. Mostly, it’s about why is it that we, as a culture, have decided that getting older is the worst possible thing that can happen to us when, of course, it's the only thing that is inevitable in our lives apart from death. And I just I'm really curious about that.

If you have ever gone out for a job interview, gone on a first date, or just put yourself out there for something you really wanted. Then you can relate to this play, and you can specifically relate to the power of “No,” which is certainly one of the themes in the play. Mickle's work is always very funny.

'There's nobody like her, and I don't think there could be anyone like her in politics or in government these days. It's changed so much. But, my Lord, did we have a treasure when we had her.'

This is a beautifully cast show full of authentic Latin performers. They have all had input into the choreography for this production, which Luis Salgado headed up. The director has amped up the dancing from the original Broadway version and made the final journey after Gloria’s accident far more spiritual and compelling.

Luis Salgado is a choreographer and director of the show, and he was part of the original Broadway production, actually. But I think what I like about this version is if you've seen it, you definitely have to come and see it again cause it's a very different take on the show. It's very spiritual.

O: A RHAPSODY IN DIVORCE does what any good play sets out to do; it makes you feel. Your heart breaks for the lead character; her struggle and journey are effective and moving. There is a lot here to savor, and it maintains the prestige of what this company routinely produces.

On January 23rd Les Ballets Trockadero de Monte Carlo brings its 50th anniversary tour to Jones Hall. The comedic ballet troupe will be delivering an evening of their “greatest hits”, and this Houston stop is courtesy of Performing Arts Houston. Broadway World writer Brett Cullum got a chance to sit down with Felix Molinero, a company member, to discuss “The Trocks” and what we can expect from this special long-awaited performance.