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  • Sizing Things Up
  • Sizing Things Up

    Lake City Playhouse hits a deliberately lighter note with Epic Proportions.
      Things open with the prim and skittish Louise (Dawn Hunter) addressing us, the audience, as the filmâeuro;™s extras. It isnâeuro;™t a complete violation of the fourth wall, since âeuro;œourâeuro;� responses are provided by a sound system. Every so often those canned replies and shouts missed a beat as opening-night kinks were worked out.
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  • Playing It Unsafe
  • Playing It Unsafe

    How local controversy over Rent sold tickets and reinforced a community theater's sense of purpose.
      An Internet phenomenon known as the Streisand effect has it that the more you attempt to suppress something âeuro;” whether itâeuro;™s an unflattering photo or an embarrassing video âeuro;” the more attention will be drawn to it..
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  • Overstuffed
  • Overstuffed

    The canvas here is too small for a big musical like Fiddler. But colorful details will still catch your eye.
      chaos than artful choreography. (It’s incredible how they manage to drag that dairy cart out of the wings.) And the show’s final scene doesn’t depict all the Russian villagers trudging off into an uncertain future with all their possessions piled atop creaky carts.
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  • Don't Hold It In
  • Don't Hold It In

    Tired of being bullied by heartless bureaucrats? For all your pent-up tensions, Urinetown provides soothing relief.
      This 2001 satirical musical by Mark Hollman and Greg Kotis presents a quasi-Depression-era dystopia in which a mega-corporation has a monopoly on every toilet in the world. The common folk are fed up, of course: They spend most of their time standing in line, clutching their privates, shifting their weight from foot to foot.
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  • Squall in the Family
  • Squall in the Family

    A family patriarch dies. Let the aimless infighting begin.
      And like Godot, Turpin’s absence is the dramatic engine of this play. Before his body is cold, relatives start to converge on the homestead (read: trailer) to pay their respects, and the absurd merrygo-round that typifies family gatherings is set into furious motion.
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  • Self-Unforgiven
  • Self-Unforgiven

    It takes a real man to admit that he has been a hypocrite - and a woman to show him how.
      Hawthorne created a famous quartet of characters: the adulteress, her strange and estranged husband, their otherworldly daughter, the minister who’s supposed to provide them counsel but who’s obviously struggling with his own demons.
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  • Their Own Private Maine
  • Their Own Private Maine

    Frozen, remote, small-town romance? This play could be called Almost, Idaho.
      It also has a funny way of literalizing what we think of as abstract. In one scene, a woman literally carries around the pieces of what’s supposed to be her broken heart. Another woman — Cariani links his scenes, but barely — returns the love her boyfriend has given her, represented by a dozen stuffed-full sleeping bags.
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  • An American Tragedy
  • An American Tragedy

    In Lake City’s Of Mice and Men, actors sparkle but dreams die.
      Sitting cross-legged on the ground like a little boy, he rocks back and forth, self-comforting. With his lips trembling, he tugs on the legs of his filthy denim overalls. Fluttering fingers wipe nervous sweat off his forehead.
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  • Taffeta Tally
  • Taffeta Tally

    After this report card, the Taffetas are probably going to get detention.
      Solo vs. quartet songs: These four vocalists are seldom strong enough to stand alone. Two exceptions: Liberty Harris’s yearning in “And where he goes I’ll follow, I’ll follow, I’ll follow.” (The lower register suited her voice.
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  • Deformities
  • Deformities

    How can you sympathize with someone who scares you?
      hink of all your past sins, cruelties and stupidities. What if they all accumulated on your body — bony growths lumped on your face, foul-smelling warts covering your torso? Hideous deformities for all to see..
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  • Signature Song
  • Signature Song

    At Lake City, Alyssa Day makes "Don't Cry for Me" sound just as good as we remembered.
      They´re the moments when you hold your breath. They’re the big solo dramatic songs in musical theater: “The Impossible Dream,” “Bring Him Home,” “Send in the Clowns,” “Rose’s Turn.” Everybody knows the tune, everybody’s hoping for good but fearing they’ll get less, and no one’s really expecting tonight’s performance to live up to any ideals.
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