A hybrid of a concert with bits of a traditional musical, “Hundred Days” is a musical memoir telling the story of real-life couple Shaun and Abigail Bengson, who wrote the musical with the book by Sarah Gancher.

While the musical explores the dark edge of love and how we hold onto it, “Hundred Days” is full of wit, lively songs, exuberant performances and a top-notch band with a story clocking in just under 90 minutes. David Arisco’s deft direction is accented by on point musical direction by Dominique Scott.

The Bengsons have one of those love-at-first-sights stories. Within an hour of meeting, they visit a diner where they instantly fall in love, decide to move in together and basically blow up their lives. Abigail moves her stuff out of the apartment she shared with her kind-of fiancé while Shaun has to tell his best friend, who is driving cross country to stay with him. Yet neither Shaun nor Abigail doubt that the have found “their person,” the basis of “Vows,” the first song.

Three weeks later, Shaun and Abigail marry and form a band.

Whirlwind romance aside, both come with baggage that led each to move to New York City. Abigail alludes to her teen years when her family was destroyed by violence and mental illness. She doesn’t go into a lot of detail, and the audience doesn’t need to know more to understand the pain in the songs.

After rear-ending a UPS truck, Shaun ends up in the hospital where the couple is informed that he has only 100 days to live. It’s unclear if this is real or one of Abigail’s nightmares manifested, built from her childhood trauma. The diagnosis also seals what Abigail says at the beginning: “Being alive, means being in grief.”

Regardless, this turn of events makes for an emotionally engaging musical with solid songs about love, the uncertainty of life, fear and making every day count. The Bengsons decide to make every day stretch as if it was a year. They will “memorize moments,” celebrate Halloween in the morning, Christmas in the afternoon, birthdays at night and fit in other holidays and milestones.

Actors Playhouse’s “Hundred Days” is graced by superb performances by Mallory Newbrough as Abigail and Nate Promkul as Shaun. Both actors’ talents have been showcased in numerous South Florida productions. Newbrough has earned two Carbonell Awards and two Silver Palm Awards, along with a few nominations, while Promkul has received a Silver Palm and two Carbonell nominations.

In “Hundred Days,” the far-ranging vocals of Newbrough and Promkul nail the songs that include folk rock, folk punk, ballads, pop and a bit of hip hop. One can hear the love in each of their voices and the grief in Newbrough when she laments what life without Shaun would be like, and if she can handle it. Newbrough is constantly in motion, jumping around the stage, whipping up the musicians and herself with a kinetic spirit.

Newbrough and Promkul also have an undeniable chemistry, making us believe they truly are a couple. Newbrough and Promkul impeccably recreate the story of the real Bengsons, who have performed their musical numerous times, including in 2019 at the Arsht Center in Miami.

Newbrough and Promkul, who also plays acoustic guitar, are supported by Stephen G. Anthony as Reggie on vocals and bass; Jenn Chandler as Colette on vocals and cello; Dennis Fuller as Danny on vocals and drums; Melanie Vitaterna as Barrie on vocals and accordion. These actors-singers make a tight band.

“Hundred Days” benefits from the intimacy of Actors Playhouse’s Balcony Theatre space. The colorful set is the performance space for a band, with scenic and set design by Jodi Dellaventura. Ellis Tillman’s costumes showcase the characters, especially Newbrough’s punk outfit. Eric Nelson’s lighting design and Reidar Sorensen’s sound enhance “Hundred Days.”

The message of “Hundred Days” centered on the power of love and taking a chance on love ends Actors Playhouse’s 36th season on a high note.

A version of this review is published on floridatheateronstage.com.

IF YOU GO

What: “Hundred Days”

When: Through Aug. 4. Performances Wednesday through Saturday at 8 p.m.; Sundays at 3 p.m. Running time approximately 90 minutes without an intermission.

Where: Actors’ Playhouse at the Miracle Theatre, 280 Miracle Mile, Coral Gables

Cost: $40 to $75

Information: 305-444-9293 or www.ActorsPlayhouse.org

The season definitely has begun with “Summer Shorts: Flipping the Script,” which runs through Sunday, June 23, in the Adrienne Arsht Center’s Carnival Studio Theater in downtown Miami.

Now in its 27th year, “Summer Shorts” celebrates those plays that are around 10 minutes in length yet pack in character development and story arcs in that time. Eight original plays making their debut include four by South Florida playwrights nurtured in City Theatre’s Homegrown project, inaugurated last year. The other four were chosen from entries in the Susan J. Westfall National Short Playwriting Contest. “Summer Shorts” also nurtures young talent with its “emerging artists” lending support to the seasoned actors.

As in previous years, these short plays lean toward finding humor in the poignant situations with that twist at the end. Some plays land better than others, a couple are outstanding, but all are entertaining.

“Summer Shorts” is a true repertory experience with each actor playing different characters and featured in several plays.

“Dickery Pokery” — written by Brandon Urrutia, directed by Karina Batchelor: One of the funniest shorts puts new meaning to the term “sex comedy” with Tony (Alex Alvarez) venturing into a Claire’s store in the mall for a free piercing as promised in a flyer. But he doesn’t want his ears pierced, and his request appalls and scares the young clerk (Kimberly Vilbrun-Francois). Batchelor’s smooth direction allows the comedy to breathe. And just about every man in the audience winced when that piercing gun went off.

“An Awkward Conversation in the Shadow of Mount Moriah” — written by John Bavoso, directed by Steve Trovillion: The well-timed humor shows just how awkward that walk home was from the top of Mount Moriah as Abraham (Alvarez) tries to explain to Isaac (Chris Anthony Ferrer) why he almost sacrificed his son. Talk about dealing with father issues.

“The Pros and Cons of Implosion” — written by R.D. Murphy, directed by Trovillion: This deeply emotional outing illustrates how grief takes different forms. Allie (Therese Adelina) is a brilliant high school senior who knows more about cars than most mechanics. She can’t understand why her neighbor (Alvarez) has let his Volvo rust in his garage for 20 years, while the car reminds him of “when I was an us.”

“Search for an Ending” — written by Karissa Murrell Myers, directed by Carey Brianna Hart: Diana Garle is the only woman screenwriter in the room with colleagues played by Devon Dassaw and Ferrer, who insist on mansplaining how the female character should feel in the movie they are writing. Garle’s character is obviously the smartest person in that writers’ room. But do they listen?

“Leaving Jamaica” — written by Nerissa Street, directed by Hart: Vilbrun-Francois plays a brilliant student about to leave her home in Jamaica to study in London. Her mother (played by Toddra Brunson) and sister (Francian Sonique) keep pushing her to take food and the biggest Dutch oven ever made with her. A lovely tale about letting go, growing up and leaving home without abandoning your roots.

“Swordfish Grilled (So I Don’t Get Sued)” — written by Maleeha Naseer, directed by J.C. Gutierrez: Different personalities of the Swordfish Bistro’s staff emerge as they get ready to open in this West Kendall neighborhood for the day. But nothing is ordinary as they bicker, share secrets and wonder what to do about the ladies restroom. The harried staff includes Adelina, Dassaw, Ferrer, Garle and Alvarez.

“Manic Pixie Dream Girl” — written by Rhiannon Ling, directed by Sabrina Lynn Gore: None of us is the same person we were as teenagers — interests, personalities, goals change as we age. Friends since high school, Manic Pixie Dream Girl (Adelina), Gay Best Friend (Dassaw), Gamer Boy (Ferrer) and Seductress (Garle) have regular video chats using the personas they’ve been known as. Each is afraid of admitting how they have changed, fearing they’d lose the friendship. Then Manic Pixie Dream Girl falls for a football player.

“This Week in the Land of Democracy” — written by Brittany “BK” King, directed by Gore: Sisters, played by Vilbrun-Francois and Brunson, settle in to eat pizza and test a computer program when an algorithm meant to show the kind of world we could have goes wacky. Garle, Alvarez and Adelina lend their dubious support.

The acting in “Summer Shorts: Flipping the Script” is universally superior with each actor in this ensemble smoothly moving from different characters as dictated by the scripts. Audiences are used to solid work by Garle and Alvarez, and it’s inspiring to see the range exhibited by Dassaw, Ferrer, Vilbrun-Francois, Brunson and Adelina. The directors’ flawless interpretations keep the production moving

Kudos to the young staff in charge of changing the scenery. True, sets are simple — a few chairs, a couple of couches, roadside directions to Mount Moriah and a mall store — but these are changed seamlessly and fast. Production values enhance “Summer Shorts” with scenic design by Jodi Dellaventura, projection design by Steven Covey, lighting by Eric Nelson, sound by Ernesto K. Gonzalez and costumes by Dario Almiron.

It’s definitely shorts weather as “Summer Shorts: Flipping the Script” proves.

IF YOU GO

WHAT: City Theatre’s “Summer Shorts: Flipping the Script”

WHEN: Through Sunday, June 23

WHERE: Carnival Studio Theater at Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami

COST: $50-$75

INFORMATION: 305-949-6722; arshtcenter.org

A version of this review ran in floridatheateronstage.com.

In “The Prom,” which runs through Sunday, April 7, at Fort Lauderdale’s Broward Center for the Performing Arts, Slow Burn cofounder Patrick Fitzwater’s crisp direction combined with Reynel Reynaldo’s exuberant choreography extract every ounce of humor — and it is a funny script — and compassion in a musical that touches on homophobia, the cult of celebrity, parenting issues, fear, teenage angst, empathy and the need for theater educators.

The story revolves around likable teenager Emma Nolan, whose request to bring her girlfriend to the senior prom ignites her small Indiana town. Mrs. Greene, the PTA head, and some of the parents are outraged. They insist they are not homophobic — yeah, don’t believe that — but instead cancel the prom rather than deal with one student’s request. Emma has an ally in the principal, Mr. Hawkins, who believes it’s a civil rights issue and begins to seek help from the state.

While Emma is at the heart of “The Prom,” the action actually begins with characters (award-winning actors) in New York. The actors, Barry Glickman and Dee Dee Allen, have just had their latest Broadway extravaganza close on opening night. (Oh, those nasty critics who lambasted “Eleanor!: The Eleanor Roosevelt Musical.” Somehow, that idea just didn’t work.)

Commiserating, the two are joined by Angie Dickinson, who’s been in the chorus of “Chicago” for more than 20 years but never got to play Roxie Hart. The trio becomes a quartet with actor Trent Oliver, who had a hit TV series back in the ’80s and is now a waiter. Almost as bad as having a show close, they are accused of being past their prime and too irrelevant. They also are accused of being too self-absorbed. (Dee Dee carries her Tony Awards in her purse.)

To bring good attention to themselves and show they are caring people, these divas seek a cause that will put them in the best spotlight possible.

BARRY: Well, we have to show the world that we’re not that.

DEE DEE: What, aging?

BARRY: No, narcissists! People who are in love with themselves.

DEE DEE: I still don’t understand what’s wrong with that.

BARRY: Wait a minute. I know how we can still love ourselves, but appear to be decent human beings. We’ll become celebrity activists!

They stumble on Emma’s situation and shuffle off to Indiana to plan a protest and a rally without any idea of what they are doing or if they truly are helping Emma.

Fitzwater has assembled a tight cast who take much delight in their roles.

It’s good to have the multitalented Margot Moreland back on stage after a couple of years’ absence. As Dee Dee, Moreland is the epitome of a diva who learns to be a bit more gracious to others. Moreland nails every song. Dee Dee may be insufferable, but Moreland’s winning personality makes the audience care about her character.

“The Prom” also marks Henry Gainza’s return to South Florida theater after a few years performing in Broadway shows. Gainza is appropriately over the top as Barry Glickman who finds Emma’s situation parallels his own as a teenager. His energy is wonderfully boundless.

Regina Brown is as likable as her character Emma Nolan, whose parents kicked her out when she told them she was a lesbian and who must keep secret the relationship with her girlfriend. Brown depicts with finesse this heavy load that Emma deals with while keeping herself well-grounded. Brown shows her strength as a singer in her solo “Just Breathe,” her heartbreaking duet with Alyssa (the lovely-voiced Sarah Lash) and especially the emotional “Unruly Heart.”

Lash shines in her angst-ridden song “Alyssa Greene,” about the pressure her controlling mother puts on her. Alyssa believes she wants her daughter to be perfect so maybe her husband will return.

Michael Hunsaker is a scene-stealer as the blowhard Trent Oliver, whose bout with fame and his Juilliard education rule his life. “Love Thy Neighbor” brings home the theme of acceptance in “The Prom,” and the need for a drama teacher at the high school.

Shannon Mullen is an arresting Angie Dickinson, especially in the song “Zazz,” with her high, high, high kicks.

A superb Chaz Rose (as Mr. Hawkins), recently seen as the mobster in Slow Burn’s “Sister Act,” has undeniable chemistry with Moreland. His “We Look to You” is a paean to why theater is more than entertainment.

Shelley Keelor’s Mrs. Greene is the villain of “The Prom” with her staunch stand against a same-sex couple, yet this actress also shows her character’s fears about being a single mother. Darius J. Manuel, who was a bumbling crook in Slow Burn’s “Sister Act,” uses his bright comic chops as publicist Sheldon Saperstein.

The Fort Lauderdale-based Slow Burn has a tradition of identifying young talent who grow with each role, often starting out in ensemble roles.

The high-energy dancing scenes show pure happiness, with much praise going to the young ensemble, choreographer Reynaldo and dance captain Emily Tarallo.

As usual, Rick Peña’s costumes are on point, with Timothy S. Dickey’s scenic design, Clifford Spulock’s lighting and Dan Donato’s sound enhancing “The Prom.”

Many cheers to Slow Burn for including a live band under the expertise of music director Ryan Crout. If only more theaters had the wisdom to hire live musicians instead of using tape.

The catchy score by Matthew Sklar (“Elf” and “The Wedding Singer”) and Chad Beguelin (“Elf” and “Aladdin”) veers from the humorous, with myriad referencing other musicals, to the touching and the emotionally wrenching. The score allows for characters to shine in their solos, often accompanied by ensemble members as background singers.

“The Prom” debuted on Broadway in 2018 and was nominated for multiple Tony Awards including best musical, eventually winning the Drama Desk Award for best musical. Having seen “The Prom” in its terrific Broadway production and rather average tour, we can safely say Slow Burn’s version sparkles.

A version of this review was published in floridatheateronstage.com.

IF YOU GO

WHAT: “The Prom,” presented by Slow Burn Theatre Co.

WHEN: Through Sunday, April 7

WHERE: Amaturo Theater, Broward Center for the Performing Arts, 201 SW Fifth Ave., Fort Lauderdale

COST: Tickets start at $54

INFORMATION: 954-462-0222; browardcenter.org; slowburntheatre.org

Certainly, other musicals had tackled politics in specific eras, such as “Sound of Music” (1959) and “Fiddler on the Roof” (1964). But none targeted the rise of Nazism in Berlin during 1929 and 1930 using a low-rent nightclub as a metaphor for apathy.

Director Sam Mendes’ 1993 London revival of “Cabaret” further upped the ante, zeroing in on the seediness of the Kit Kat Klub, Nazism seeping through Germany and a blatantly sexualized The Emcee, dressed in fishnet stockings and torn mesh top, not the tuxedo that Joel Grey wore in the original.

Zoetic Stage’s production of “Cabaret” is another game changer, with its innovative direction and staging by Stuart Meltzer, a superb cast and inventive set. It runs through Sunday, April 7, in the Carnival Studio Theater at Miami’s Adrienne Arsht Center for the Performing Arts.

Zoetic cofounder Meltzer has taken this now-popular musical, listed in the top 10 most-produced titles in American theater, to make it totally his own production. He reconceives aspects introduced in the Mendes version to make Zoetic’s “Cabaret” seem like a fresh, new musical.

The director’s attention to details makes many scenes powerful and unpredictable. The first time we hear the Nazi refrain “Tomorrow Belongs to Me,” expertly sung by Nate Promkul, is a chilling surprise. Meltzer’s unique spin on the last scene becomes one of those heart-in-the-throat moments in which the audience’s gasp is universal.

Instead of the traditional proscenium stage, Zoetic’s is a variation of theater-in-the-round, cleverly designed by another cofounder, Michael McKeever. At one end is the dancers’ cluttered dressing room. This leads to a runway of sorts that leads to a circle stage, followed by another runway leading to a rectangular stage with the words Kit Kat Klub in bold gold letters, behind which is the band.

Some audience members sit at either long tables up against the staging or in individual tables, or in regular theater seats behind the tables. As a result, the audience feels as if they are smack in the middle of the action.

As audience members enter, a dancer already is slumped over a dressing table — perhaps exhausted, or drunk, or perhaps it’s Elsie, who will be mentioned later in the song “Cabaret.” We won’t spoil the surprise.

“Cabaret” opens just before the new year of 1930 in Berlin. The Jazz Age is winding down while the Nazi Party is gaining strength. The seedy Kit Kat Klub isn’t the place to be, but it offers a refuge for those living on the fringe, basking in its decadence. Its patrons and dancers refuse to acknowledge the violence, antisemitism and hatred growing outside its walls.

“Here, everything is beautiful” is the common refrain. Only it isn’t.

American Clifford Bradshaw arrives in Berlin to work on a novel, teaching English on the side for an income. On the train, he meets German Ernst Ludwig, who agrees to become his first pupil, recommends a boarding house and offers him an occasional job taking items back and forth to France for “a good political cause.”

Ernst also introduces Cliff to the Kit Kat Klub, where he meets the English chanteuse, Sally Bowles. Cliff also is recognized by one of the male dancers, with whom he’d had a liaison in another country. A few days later, Sally shows up at the boardinghouse insisting to move in with Cliff after she is fired.

At the boardinghouse, proprietress Fräulein Schneider and her Jewish tenant, Herr Schultz, who owns a fruit store, begin a serious romance with plans to marry. Their courtship is lovely and heartbreaking.

“Cabaret” has essentially four stories: that of Cliff and Sally and their growing relationship, that of the nightclub, the goings on at the boardinghouse, and the rapid influence of the Nazis.

Meltzer’s skill at casting superior actors and pushing them to even higher performances excels in “Cabaret.”

Lindsey Corey, one of South Florida’s top singer-actors, digs even deeper than usual as Sally Bowles. While her character is, essentially, a third-rate entertainer, there is no denying that Corey gives a first-rate performance. Her “Don’t Tell Mama,” “Mein Herr” and “Maybe This Time” are show-stoppers, but her savvy interpretation of the song “Cabaret” is excellent. Too many singers approach this song as a happy party tune, but it is not, and Corey understands this. She finds the pathos, the sadness, the idea that Berlin is changing for the worse and she can no longer ignore politics. Corey’s rendition is one of the best we’ve ever heard.

Teddy Warren’s Cliff arrives in Berlin thinking he is worldly-wise but soon learns how little he knows. Suffering from writer’s block, he is seduced by the decadence of Berlin and by Sally.

Cliff, at first, is in awe of Berlin — “It’s tawdry and terrible. And I love it,” he says. His realization that his errands for Ernst are for the Nazis forces him to reevaluate his life. Warren, recently seen in GableStage’s “Old Wicked Songs,” effectively shows his character’s growth.

The Emcee is this musical’s showiest role, and the excellent Elijah Word makes every song, every movement, even a piercing glance count in this sexually charged character who moves along the story of the club and performs with the dancers. Word’s role in Slow Burn Theatre Co.’s “Kinky Boots” established him as a powerful entertainer, but his Emcee shows his talent at another level.

Word is mesmerizing when on stage, from “Willkommen” to “Two Ladies” to “Money.” The Emcee is dressed, not just in the torn mesh top and corset established in Mendes’ production, but mostly in rather sophisticated but oh-so-sexy costumes winningly designed by Dawn Shamburger.

The Emcee arrives as if in a fashion show wearing fishnet stockings, a garter belt and a corset, of course, but also an open-front skirt with pannier, a vest, jacket and top hat. Each subsequent outfit further establishes his character.

As Fräulein Schneider and Herr Schultz, longtime married actors Laura Turnbull and Avi Hoffman bring an undeniable chemistry to their heartfelt performances, especially in the duets “Married” and “It Couldn’t Please Me More.” Turnbull’s “What Would You Do?” is a forceful look at the cost of surviving.

Sara Grant is a revelation in her dual roles as the dancer Frenchie and Fräulein Kost, a prostitute who lives at the boardinghouse. Kost often is a minor character, meant to cause friction with Fräulein Schneider. But Grant makes Kost three-dimensional, especially as she gradually reveals her Nazi sympathies and virulent antisemitism. Grant has proved herself in a variety of roles in South Florida, but “Cabaret” shows her talents at a new high.

As the character of Ernst Ludwig, Robert Koutras starts out as an affable stranger, easy to start a friendship with. Koutras makes Ernst still seem like a nice guy even when his conman tendencies are revealed. But his black heart becomes clear when he first wears a swastika and his version of “Tomorrow Belongs to Me” that closes the first act is biting descent into hatred.

Kudos also are deserving for Ben Sandomir as various characters, as well as for Casey Sacco, Conor Walton, Lauren Danielle Horgan and Nate Promkul, who invest individuality into their roles as Kit Kat Klub dancers. The band, led by Eric Alsford, is a highlight.

Quiana Major’s sound design and Becky Montero’s lighting design enhance the production.

At its essence, “Cabaret” is a musical about denial. Sally Bowles and the Kit Kat Klub’s dancers refuse to believe that politics will affect their lives. Cliff acknowledges the influence of Nazism but declines to act until it’s almost too late. Fräulein Schneider forgoes happiness and love for safety. And, saddest of all, Herr Schultz refuses to believe that his supposed friends and neighbors would turn against him because he’s Jewish.

Zoetic Stage’s “Cabaret” is not to be missed.

IF YOU GO

WHAT: Zoetic Stage presents “Cabaret”

WHEN: Wednesday-Sunday, through April 7

WHERE: Carnival Studio Theater at Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami

COST: $65-$85

INFORMATION: 305-949-6722; arshtcenter.org

A version of this review ran in floridatheateronstage.com.

The unique drama from South Florida playwright Vanessa Garcia is making its world premiere through Sunday, March 24, at Island City Stage in Wilton Manors, and continues her reputation for thought-provoking plays that mine the intersection of cultures. These include “Sweet Goats and Blueberry Señoritas,” written with poet Richard Blanco, and the successful immersive show, “The Amparo Experience.”

In “1000 Miles,” Garcia presents a dystopian society that may be in the future — or next week — as five characters navigate a world that offers promises that can be snatched away too easily. It also tackles xenophobia, the price of freedom, how surveillance meant to keep us safe can rob us of privacy, and how one’s identity and heritage can be eroded.

Director Elizabeth Price assuredly maneuvers her cast, which draws in the audience in this often interactive production. Members of this solid ensemble all have shown prowess in other productions, but “1000 Miles” gives each a chance to shine.

Solis (played by an insightful Charisma Jolly) arrives in The City, which purports to offer a safe haven for arrivals, following a traumatic crossing of 1,000 miles across the sea from her war-torn country where she had no future. It wasn’t just a hard crossing, tragedies happened that still cause her nightmares.

“Survival was the only thing we cared about. There is no tomorrow when today is in question,” Solis says.

She is hoping The City will be full of possibilities, even though fitting in and finding her place will be problematic. The City is no mecca given the bombings and protests occasionally marring the landscape.

Solis is told she has a few days to find work or she will be sent back. She stumbles into a watch repair shop owned by Peter (a standout Rayner Gabriel), who insists he has no money to pay her. But Solis wears him down, proving she has unusual skills with watches that may bring him customers.

Peter frequents a bar owned by his old friend, Maria (a compassionate Arlette del Toro), who recently hired a new bartender, Viola (an appealing Dayana Morales). Viola has lived in The City for 15 years but is still considered “a new arrival.” They are joined by Peter’s brother, Mark (a striking Daniel Llaca), who has been away for a while working on a marketing project for the government.

Their reactions to living in The City and their relationships with each other form the crux of “1000 Miles.”

The interactive aspect of “1000 Miles” begins as soon as audience members arrive. Guards — played by Tyler Johnson Grimes, Joanna Orrego, Megan DeGraff and Tim Davis (New City Players’ producing artistic director) — check in each person as they arrive to The City.

Then a City Guard (played by Cloudy Nonome in a green poncho) again checks in the arrivals, handing each an envelope with a postcard of The City and its surroundings and an ID badge designating each person as a citizen or refugee. Those categorized as refugees are told when they have to find employment.

In our party of three, one received citizen status, the other two were labeled refugees. One had four days to find a job, the other seven days.

Upon entering the theater, each person also gets a small battery lantern that they will be asked to turn on often during the play. Actors frequently break the fourth wall to speak directly with the audience.

“1000 Miles” has a strong script with sharp dialogue and solid characters. Peter’s job repairing watches works as a persuasive metaphor about the intersection of time — past, present and future. A clock, even one that is broken, becomes a talisman for another character.

But this new work could use a bit more retooling and some trimming, especially the first act.

Price makes the most of Island City’s intimate space, aided by the effective set designed by Shannon Veguilla. There’s Peter’s watch shop, a scaffold that serves myriad scenes, a small bedding area, and Maria’s well-stocked bar, all in muted colors reflecting the situation.

Annabel Herrera’s lighting, Jameelah Bailey’s props and set dressing and Tyler Johnson Grimes’ sound (aided no doubt by the passing Brightline) further set the tone.

The world is full of stories about the immigrant experience, as Garcia illustrates in “1000 Miles.”

IF YOU GO

WHAT: New City Players presents “1000 Miles”

WHEN: Thursdays-Sundays, through March 24, with post-show talkbacks after Sunday performances to explore the play’s themes and process

WHERE: Island City Stage, 2304 N. Dixie Highway, Wilton Manors

COST: $40 for adults; $35 for seniors age 65 and older; $25 for students age 25 and younger with ID; $25 special promotion on Thursdays only

INFORMATION: 954-376-6114; newcityplayers.org/season

A version of this review ran in floridatheateronstage.com.

And there is good reason. This Pulitzer Prize-winning musical continues to be fresh and vibrant — as the Lauderhill Performing Arts Center (LPAC) proves with its first-rate production of “A Chorus Line” running through Jan. 28. “A Chorus Line” launches LPAC’s new Broadway series, which also includes “Memphis” from Feb. 15 to March 3 and “Hello, Dolly!” from April 4 to 21.

Under the steady guidance of director Michael Ursua, and with re-staged choreography by Alex Jorth, this rendition thoroughly entertains with solid dancing and poignant talks from this chorus line’s members.

“A Chorus Line” revolutionized theater when it was launched on Broadway in 1975, with its music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante. The cast included no major stars to draw in audiences (though the musical did launch the careers of several actors). The stage was bare, except for a mirror in the background that served as a dancing tool.

It also eschewed glitzy, eye-popping costumes for T-shirts, leggings and workout clothes. There was no intermission, which, no doubt, cut into the concession profits. Despite these drawbacks, “A Chorus Line” was a box office and critical hit, earning 12 Tony Award nominations, winning nine, plus the 1976 Pulitzer Prize for Drama. At one time, it was the longest-running show on Broadway.

The production focuses on 17 unknown Broadway dancers auditioning for spots on a chorus line that will back up its unseen star. The audition includes lots of dance, of course, as they show their abilities. But the audition takes a different turn when each must explain what shaped their lives and why they decided to become dancers.

“A Chorus Line” also is about careers — doing what you love, even when it doesn’t love you back; and taking that risk of being rejected, of knowing your choice of profession has a shelf life. Yet, this is what you love and you have no choice but to pursue that career, all of which is explained when the cast joins together for the anthem “What I Did for Love.”

Ursua skillfully reimagines the original concept. The stage is bare except for a scattering of personal bags that dancers bring to an audition, and that vital mirror. The decidedly unglamorous costumes represent how the cast would dress for an audition. And “A Chorus Line” is performed without an intermission.

He also has assembled a cast of young, energetic dancers/actors. While most have had roles in a variety of South Florida productions, none are among the area’s best-known performers. That is likely to change, thanks to Ursua’s production.

“A Chorus Line” is definitely an ensemble piece, yet it was devised so that each person’s memories pack an emotional wallop. The audience connects with each, wishing that everyone could land this role, rooting for those who are picked, sad for those who don’t. The audience knows how they feel when the company sings “I Hope I Get it.” It takes a toll when one of the most talented dancers injures himself and is out of the running. The audience can only hope that he heals quickly and goes on to have a fabulous career.

Standouts include but are not limited to: Stephen Eisenwasser (Mike), Lauren Horgan (Diana), Anna Cappelli (Val), Larry Toyter (Bobby), Desir Dumerjuste (Richie), Alexandra Van Hasselt (Judy), Madison Wilcox (Sheila), Nia Bourne (Bebe) and Abbey Alder (Maggie).

Notably, pain is clear in the monologue when Samuel Colina as Paul recounts an earlier job and the first time his father called him “my son.” Chad Raven as casting director Zach keeps the momentum going.

The exceptional role in “A Chorus Line” continues to be Cassie, the uber-talented dancer who years ago left the chorus — and Zach — for a big career that never happened. Now she desperately wants to rejoin the chorus line. This role launched a long career for the original Cassie, Donna McKechnie. Here, Lauren Cluett delivers an outstanding Cassie, showing why, as Zach says, she doesn’t dance like anyone else and why she needs to dance, explaining it in “The Mirror and the Music.”

Compliments also go to the lighting design by Will Gibbons-Brown, sound design by Christian Taylor and Ursua who adds music direction to his job titles.

IF YOU GO

WHAT: “A Chorus Line””

WHEN: Wednesday to Sunday, through Jan. 28

WHERE: Lauderhill Performing Arts Center, 3800 NW 11th Place

COST: $45-$65

INFORMATION: lpacfl.com; 954-777-2055

A version of this review ran in floridatheateronstage.com.

Slow Burn has found that sweet spot, judging from the show’s opening-night audience, which included many well-behaved children as well as adults with and without young theatergoers. Appealing actors with strong voices and enthusiastic dancers never let a moment lapse during “The Little Mermaid,” directed with finesse by Slow Burn cofounder Patrick Fitzwater and featuring spirited choreography by Nicolette Quintero.

Fitzwater and company bring a fresh perspective to “The Little Mermaid,” putting their version in its own class, apart from the myriad movies based on this tale of a tail — the most famous being Disney’s 1989 animated version and its live-action film released earlier this year. The plot is based on Hans Christian Andersen’s 1837 fairy tale that revolves around Ariel, the adventuresome, headstrong youngest daughter of King Triton of the sea world. The king has forbidden all merfolk from contact with people, because he believes a human killed his wife. But Ariel is fascinated by the human world above, collecting souvenirs that people have left behind in the ocean or that have fallen overboard. She falls in love with Prince Eric after saving his life following an accident at sea, and he in turn falls in love with her voice, which haunts him following his rescue.

Ariel desperately wants to be with Eric and makes a bargain with evil sea witch Ursula, who happens to be her banished aunt. Ariel will trade her beautiful voice for a pair of legs, with a condition. If Eric kisses her in three days, Ariel will be able to live happily ever after as a human. No kiss, no happily ever after with Eric, and Ariel will be a slave to Ursula, who will also own her soul.

Eric is instantly smitten upon meeting Ariel again, but she cannot talk to prove she was his rescuer. Believing she’s the victim of a shipwreck, Eric takes her to his castle to recover. Eric’s de facto guardian, Grimsby, wants the prince to be married as he turns 21 years old and ascends the throne. Grimsby suggests a contest in which all the region’s princesses sing to Eric so he can find his love — a kind of fantasy version of “The Masked Singer.” Without a voice, Ariel relies on her exuberance, with help from friends including Flounder the fish, Scuttle the seagull, and Sebastian the crab.

Slow Burn has netted solid leads to swim in “The Little Mermaid” sea. Sweet-voiced Melanie Fernandez as Ariel capably carries the musical with her likable personality, expressive face and song stylings, both in ensemble numbers and in her solos including “The World Above,” “Part of Your World” and “If Only (Ariel’s Lament).”

Two-time Carbonell nominee Nate Promkul makes a striking royal turn as Prince Eric, depicting the future king as a guileless, down-to-earth young man not yet sure if he has it in him to lead a country. Promkul has been showcasing his talents in recent roles such as Anthony Hope in “Sweeney Todd” and Gabe in “Next to Normal.” “The Little Mermaid” gives him another chance to show his range.

Wilkie Ferguson’s strong voice and commanding presence show the mettle of a true leader as King Triton, whose hatred of humans is understandable and whose love for his daughters is genuine. A parent isn’t supposed to have favorites, but he clearly dotes more on Ariel among his seven daughters. Ferguson, who doubles as music director of “The Little Mermaid,” has been on Broadway in “Porgy and Bess,” “Motown The Musical” and “Wonderland.”

Heather Jane Rolff is a true villain — you’ll want to gleefully boo her — as Ursula, an aunt no one ever wants to be related to. She is aided by her two menacing henchmen, Flotsam (Nolan Montgomery) and Jetsam (Matthew Brightbill), both of whom nail their parts.

Ariel couldn’t ask for better friends than Flounder (Kyle Kemph), Scuttle (Rodney Holmes) and Sebastian (a scene-stealing Jesse Smith). Each keeps the plot churning with waves of humor and verve, as does Michael Materdomini as Grimsby.

Fitzwater also has assembled a talented ensemble pool, especially the young women who portray King Triton’s other daughters, led by dance captain Emily Tarallo with Ashley Rubin, Casey Sacco, Celia Hinds, Kristi Rose Mills and Lauren Maria Abraham.

Shells, nets and barnacles effectively set the “under the sea” scenes that morph into Prince Eric’s castle and ship. Projections of the ship, castle and ocean enhance a sense of place, as do the costumes, under Rick Peña’s supervision, and especially the innovative lighting design by Clifford Spulock. Adding to the production values are the strobe lights, bubbles (which several children tried to catch) and the occasional flying actor. A seagull needs to fly sometimes. But Slow Burn should dial back a bit on the haze that sometimes was so heavy it obscured the actors.

“The Little Mermaid” is Slow Burn’s gift for the holidays. Check your inner child to enjoy this bauble.

IF YOU GO

WHAT: “Disney’s The Little Mermaid,” presented by Slow Burn Theatre Co.

WHEN: Through Dec. 31

WHERE: Amaturo Theater in Broward Center for the Performing Arts, 201 SW Fifth Ave., Fort Lauderdale

COST: Tickets start at $54

INFORMATION: 954-462-0222; browardcenter.org or slowburntheatre.org

A version of this review was published in floridatheateronstage.com.

Family dynamics are the foundation of the deeply moving, highly effective “The Berlin Diaries,” receiving a first-rate production through Sunday, Dec. 10, at Theatre Lab, on the campus of Boca Raton’s Florida Atlantic University.

“The Berlin Diaries” is an autobiographical play written by Andrea Stolowitz, who began working on the piece several years ago while researching her family history in Berlin. The play is making its world premiere at Theatre Lab, which is one of the theaters that helped developed the piece; it’s part of the National New Play Network Rolling World Premiere and is expected to be independently produced at two other U.S. theaters in the coming months.

The story revolves around the diary kept by Andrea Stolowitz’s great-grandfather, Max Cohnreich, a German Jew who wrote the journal for his descendants after escaping to New York City in 1939. A copy was sent to Stolowitz after her mother donated the diary to the United States Holocaust Museum Archives.

But Stolowitz didn’t immediately look at the diary. Instead, it languished, sealed in its original envelope, on a top shelf of her office, where it remained even after she and her family eventually moved from North Carolina to Portland, Ore., where she is a professor of theater. Eventually, she began to read the diary, realizing this could be the basis of a play. This took her down a rabbit hole of research, leading her to Berlin to research her genealogy and tell the story of her unknown ancestors and how they survived the Holocaust.

She learned her family’s story was fraught with complications. Those complications — differences in politics and religion, personal choices, plain neglect — have been the foundation of myriad movies, books and plays. But Stolowitz finds different reasons. Her timeline moves from the past, the present and the future.

“The Berlin Diaries” is a fascinating piece of theater, brought to life by two expert actors, Avi Hoffman and Niki Fridh, and skillfully directed by Matt Stabile, producing artistic director of Theatre Lab.

During the approximately 95-minute play, Hoffman and Fridh play 14 characters each, including Stolowitz as well as her great-grandfather, mother, uncle, aunt and a cousin who immigrated to South Africa, among others.

Hoffman and Fridh tackle this exhausting cast of characters with verve, seamlessly moving in and out of the various characters across several locations including New York, Oregon, and Germany. At times, they simultaneously play the same character with one starting a sentence, the other finishing it. While this might sound confusing, Hoffman and Fridh make these moments perfectly logical. The power of Stolowitz’s writing coupled with Stabile’s smart direction and the astute acting chops of Hoffman and Fridh make “The Berlin Diaries” a master class in acting.

Hoffman and Fridh also tackle different accents, including various American and German speakers and a couple of elderly characters, guided by the expertise of dialect coach Kathryn L. Johnston.

Alyiece Moretto-Watkins’ effective scenic design contains an array of clocks, photographs, a phonograph, antique suitcases, old-fashioned lamps and delicate cups and creamers, all representing past lives with the stage framed in grey. The muted colors of Dawn C. Shamburger’s costumes for Hoffman and Fridh add to the tone, as do Matt Corey’s sound and Eric Nelson’s lighting design. However, the projections showing excerpts from the diary are too far off to the side, making them almost impossible to see, even from the second row, center, seats.

“The Berlin Diaries” fits well with Theatre Lab’s mission of producing new works.

IF YOU GO

WHAT: Theatre Lab presents “The Berlin Diaries”

WHEN: Runs through Sunday, Dec. 10

WHERE: Theatre Lab, 777 Glades Road, Florida Atlantic University campus, Boca Raton

COST: $35-$45

INFORMATION: 561-297-6124; fauevents.com

A version of this review ran in floridatheateronstage.com.

Director Keith Garsson has assembled a solid cast, each of whom mines the tension that constantly bubbles up in “Wait Until Dark.” Garsson deftly keeps the crime drama’s action briskly moving as his cast makes the plot believable.

“Wait Until Dark,” showing through Nov. 5, revolves around Susan Hendrix, who is learning to maneuver New York City — and her life — after losing her sight in a car accident. Her efforts, and challenges, are supported by her loving husband, Sam, a photographer. Left alone because Sam has been called to a bogus assignment, Susan is besieged by criminals looking for a doll that was sneaked into Sam’s briefcase in order to smuggle diamonds. How Susan — blind, scared and with only her wits — fends off these hardened criminals is the crux of the play.

The first act is a slow burn that gives way to heightened tension in the second act.

Rachel Whittington illustrates how Susan finds an inner strength while also discovering that her blindness heightens her other senses. Rachel’s Susan is at first gullible and a people-pleaser but soon learns that she has more skills and resolve than she’d thought.

Rio Chavarro portrays a conflicted character named Mike who unexpectedly drops in to visit Sam, weaving an elaborate tale about how Sam saved his life while they served in the Marines in Italy during the war. Chavarro, last seen in Boca Stage’s “Time Alone,” shows a Mike who is a glib storyteller yet who also, against his nature, finds a streak of morality as he grows to genuinely like Susan.

The always reliable Troy Stanley is scarily commanding as Carlino, who has dubious police credential.

Kudos to 13-year-old Ellie Rose, who brings depth to Gloria, the upstairs neighbor who’s paid to help Susan with minor errands and shopping. The young actress shows a pre-teen who is resentful of Susan and Sam’s happy relationship as she deals daily with an emotionally abusive mother who has a string of boyfriends. The Parkland resident is fresh off playing the title role in the musical “Annie” in the 2022-2023 Broadway National Tour.

“Wait Until Dark” marks the most welcomed return to the stage of Shane Tanner, who easily ratchets up the tension. His Roat — the most menacing of the criminals — is a chameleon as Tanner takes on several different personalities, each deliciously nasty.

Many may be familiar with the 1967 movie “Wait Until Dark” that was released a year after the thriller made its Broadway debut, starring Audrey Hepburn, Alan Arkin, Richard Crenna and Efrem Zimbalist Jr. That film and the original play, written by Frederick Knott (“Dial M for Murder”), was set in the late 1960s.

Through the years, the play underwent revivals, including one in 1998 starring Marisa Tomei and Quentin Tarantino. It didn’t go well, lasting only 97 performances. It was also retooled in 2013 by playwright Jeffrey Hatcher, who moved the setting to 1944, the waning time of WWII. New York City was on the rise in 1944, while the late 1960s was a time of decline. But the time change barely affects the plot. Both eras relied on landline phones and phone booths. Sam’s military service could be applied to any war.

Boca Stage’s artistic team make the most of the 1944 era. Alberto Arroyo’s costumes are spot-on, especially Susan’s skirt length and sweater top, down to her shoes and nylon stockings. David Hart’s sound design captures the Manhattan cityscape and rain. Larry Oberman’s lighting design sets the mood, especially those times when the stage is plunged into darkness, referencing Susan’s vision. Cindi Blank Taylor designed a lovely, compact Greenwich Village basement apartment, a tidy space with vintage appliances and a couple of well-used stairs.

“Wait Until Dark” is Boca Stage’s inaugural production in its new space at the beautiful Delray Beach Playhouse, whose beginnings date back to 1947. Boca Stage productions will be in the playhouse’s Cabaret Theatre, which means the audience will sit at small tables instead of regular theater seats. Boca Stage is now able to seat 140 patrons, as opposed to its limit of 75 people at its former home at the Sol Theatre in Boca Raton. At the same time, the playhouse allows Boca Stage to continue its intimate feel.

“Wait Until Dark” gives Boca Stage a bright start at its new home.

IF YOU GO

WHAT: Boca Stage presents “Wait Until Dark”

WHEN: Remaining performances are 8 p.m. Friday-Saturday and 2 p.m. Saturday-Sunday

WHERE: Delray Beach Playhouse, 950 NW Ninth St.

COST: $39-$69

INFORMATION: 561-272-1281; delraybeachplayhouse.com

A version of this review ran in floridatheateronstage.com.

These woods might seem to be a setting one should fear — and they are. But these woods also are an exciting place of hope, representing a search for identity, the meaning of family, as well as regret, accepting responsibility and the consequences of one’s actions.

That’s a lot to unpack in a musical, but Slow Burn vibrantly delves into the myriad layers, finding the pathos, poignancy and humor of “Into the Woods” that the late composer/lyricist Stephen Sondheim intended.

Slow Burn picked the right musical to open its 14th season, tapping into this regional theater’s strengths in shaping a large cast of strong singers, solid actors and nimble dancers, directed and choreographed by cofounder Patrick Fitzwater. “Into the Woods” runs through Oct. 29 in the Amaturo Theater at Fort Lauderdale’s Broward Center for the Performing Arts.

This is the second time Slow Burn has gone “Into the Woods,” having first mounted the musical in 2012. That production made audiences realize that the then-fledgling Slow Burn would become a major force in the South Florida theater scene. Slow Burn has fulfilled that promise show after show. As good as that 2012 production was, the 2023 version soars higher.

“Into the Woods” takes a mashup of familiar fairy tales — Cinderella, Little Red Riding Hood, Rapunzel, Jack and the Beanstalk — and weaves them into one story. Of course, there’s a witch, and cameos of Snow White and Sleeping Beauty. At the center is a story originated by Sondheim about a baker and his wife who desperately want a child.

It is definitely an ensemble piece, but Fitzwater adds another element with more of a focus on the three lead female roles, perhaps inspired by the clarion voices and forceful stage presence of these actresses.

Melissa Whitworth, so charming and steely as Mary Poppins in Slow Burn’s 2023 production, takes the role of Baker’s Wife to a higher level. Whitworth’s Wife demands to be an equal partner to her husband. Her confidence in their future and the changes she undergoes in the woods are believable.

As Cinderella, the winsome Kimmi Johnson Grimes illustrates how this young woman, neglected by her family who treat her with contempt, outwits a prince, eventually marries him only to embrace another reality.

But keep your eyes on Jeni Hacker, who delivers a powerhouse performance as the Witch. Hacker, long one of South Florida’s top singer-actresses, finds the comedy and sadness of the Witch, whose mothering approach to Rapunzel (Mikayla Cohen) is suspect at best. In many ways, the Witch is a key to “Into the Woods,” and Hacker makes the most of it. Her transformation — and we don’t want to give away any spoilers — prompted many ahhs from the audience on opening night.

Kudos also go to the male leads. As the Baker, Ben Liebert credibly goes from wanting to reverse the Witch’s curse to being angry at his own father to becoming a parent himself. This is Liebert’s debut with Slow Burn, and we hope to see more of him.

In the role of princes, Sergi Robles and Ralph Meitzler are the embodiment of entitlement, arrogance and selfishness. They also are very funny, and Meitzler is quite the howler, doubling as the Wolf. As the bewildered Jack, Luis-Pablo Garcia makes a solid stage debut. The ever-reliable Matthew Korinko is the voice of reason as the Narrator and the secretive Mysterious Man.

Aaron Atkinson shows his acting chops — without lines — and as a puppeteer bringing Jack’s cow Milky White to life. In Atkinson’s hands, and we mean that literally, Milky White is an emotional comic relief.

Rick Peña’s lavish costumes, from Cinderella and family’s ball gowns, Red’s cape, the princes’ tight pants and the Witch’s gorgeous purple outfit, set the tone of each character. Peña also did a masterful job of creating the puppets, such as Milky White, and the masks.

Live music is such a joyful enhancement, so credit goes to music director James Mablin and his musicians. Scenic designer Kelly Tighe’s tiered scenery creates a foreboding forest.

A lyric refrain is “careful the wish you make.” South Florida audiences don’t have to wish for a better regional production of “Into the Woods.”

IF YOU GO

WHAT: Slow Burn Theatre Co.’s “Into the Woods”

WHEN: Through Sunday, Oct. 29

WHERE: Broward Center for the Performing Arts, 201 SW Fifth Ave., Fort Lauderdale

COST: Tickets start at $54; call 954-462-0222, visit browardcenter.org or buy in person at the box office

INFORMATION: slowburntheatre.org

A version of this review ran on FloridaTheaterOnStage.com.