Stage Write

The Golem of Havana is set in the 1950s as the people of Cuba waver on the brink of the revolution. A young Jewish girl named Rebecca is growing up in her father's tailor shop, oblivious to the turmoil around her. She writes stories of a superhero, the golem; the fabled protector she’s grown up hearing stories of from her European mother. When their maid’s son, a rebel fighter, turns up the family must make a decision that will determine their future in this volatile world.   The premise echoes one that’s repeated too often throughout history. It’s a story of oppression and rebellion, strength in resistance and the tough moral choices that go hand-in-hand. It reminds me of Anne Frank's story and Les Miserables and dozens of others. Persecution is the same no matter what political face it wears.   Maria, the family’s maid, is played by Teneh B. C. Karimu. She gives a powerful performance as a mother in search her child. Eric Olson, who has already proved his singing ...

“I'm just a sweet transvestite, from Transexual, Transylvania,” if you don’t immediately recognize those lyrics than this probably isn’t the show for you. This cult classic, the basis for the 1975 film, has a strange story. A young couple find themselves stranded when their car breaks down in the middle of nowhere. They end up at the home of Dr. Frank-N-Furter and their bizarre night gets even weirder as they meet his devoted crew of miscreants. The elegant Athenaeum theatre is an oddly fitting setting for the musical. The set included a full catwalk and scaffolding that allows the cast to take advantage of the whole stage. There were some occasional audio issues and moments when the music overwhelmed the actors’ voices, but it was a minor issue. Zach Rosing Productions did an excellent job casting actors who were willing to throw themselves full force into the roles. Without their enthusiasm the show could have easily fallen flat, but instead the whole audience cau...