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REVIEWERS SIX DEGREES
A User-Driven Site for Theater in Atlanta, Georgia
mooniemcmoonster [ALL REVIEWERS]
Companies Reviewed#
Holly Theatre3
Dad's Garage Theatre Company2
Kudzu Playhouse1
Neighborhood Playhouse1
Stage Two Productions1
Theatre Arts Guild1
Average Rating Given : 3.66667
Reviews in Last 6 months :
REVIEWS

1776, by Sherman Edwards & Peter Stone
I hold this truth to be self evident...
Tuesday, July 1, 2008
4.5
I ADORED THIS SHOW!!!!!!!!!!!!!!!!!! I have been a fan of musical theatre most of my life and, up until this point, had never seen a production of 1776. I’d never read the script, heard any of the music, or read the book. I am not exactly sure what I was expecting it to be, but it far exceeded my expectations. It was funny, it was moving, it was inspirational, it was educational, it was funny (did I mention that this show is funny!?).

First off, in walking into the space, I thought the set was exceptional given the constraints of the room. That being said, because this was in a "fellowship hall" setting the seating wasn’t raked, so it made seeing things sometimes a bit difficult (I don’t think this was a problem for most people, but I’m all of 5’1 and I was sitting pretty far back). Most of the time though I was able to see just fine.

Gary Heffelfinger as John Adams was brilliant. For the sake of full disclosure, I know Gary very well and have worked with him on many occasions. He was my father in My Fair Lady and, in all honesty, he was the reason our group went to see the show. That said, he was absolutely magnificent. I completely forgot that I was watching my good friend Gary and was just blow away by the way he inhabited John Adams.

My other favorite performance of the night was Bill Mahlandt as Richard Henry Lee. I knew going in that he was the director and that someone else had originally been cast in the role and he took the role over, so I wasn’t necessarily expecting a lot. I thought he was precious! I loved the choices he made and was really impressed with his voice. He stole every scene he was in without being too cheeky or over the top...it’s a fine line and boy, he nailed it.

Special mention goes to Johnny Griffin as Ben Franklin (he was so good that I didn’t even care about the ridiculous hair piece), Michael Shikany as Stephen Hopkins (I was really hard on him in my review of Cabaret a few years ago, but he was just fabulous as Hopkins), and Kathy Kuczka as Abagail Adams (her voice was angelic and I loved the interaction between she and John in their scenes "together"ish). The only thing that really, really bothered me was Martha Jefferson’s song. It’s a beautiful, beautiful song, but it seemed like Ms Pirkle had some issues with the notes in her upper register. Her middle range is gorgeous, but those higher notes in the song were just not up to par. There was such a huge break between her chest and head voice that you could barely even hear the higher notes over the band (who weren’t terribly loud to begin with). Ordinarily it wouldn’t be that big of a deal, but with a show of this caliber it just stood out like a sore thumb. I give this critique a lot, but its one of my pet peeves, being a singer myself.

It’s a shame this only ran 7 shows because that means a lot of people won’t get to see it. Kudos to a job well done, guys.

Song of the Living Dead, by Travis Sharp, Matt Horgan, Eric Frampton
Hell is for Children...
Tuesday, July 1, 2008
4.5
and me, apparently. After laughing at some of the things I laughed at I am absolutely certain there is a spot waiting for me there. I haven't laughed as hard as I laughed Friday night in a very, very long time. This was so, so, so much better than I was expecting. I think I may have even peed myself a little.

If you take Team America World Police and add in a little Shaun of the Dead you have Song of the Dead. If you are easily offended then this show might not be for you. Despite it all though, there is a message. And an uplifting message at that.

Z Gillispie and George M. Faughnan are the real standouts of this show. I felt like there were some missed comedic opportunities with Gina Rickicki's "Peggy" character, but overall this was a great show.

I was going to give it a 4.0 but I have it the extra .5 for the brilliant Bauhaus reference. What can I say? You can take the girl out of the goth, but you can't take the goth out of the girl...or something like that.


Proof, by David Auburn
The "Proof" is in the weird dinner theater pudding...***4.75**
Monday, April 24, 2006
4.0
This is the closest to a ¡§5¡¨ show that I¡¦ve seen since I¡¦ve started reviewing shows. It wasn¡¦t perfect. There were a few little things that bothered me, but I don¡¦t want to bog this review down with those little details.

Valerie West was absolutely amazing as Catherine. I read this play shortly after it was published and I was so moved by it that I immediately thought ¡§I MUST DO THIS SHOW¡¨. Scheduling conflicts prevented me from even auditioning for this production, but this is one of the VERY few instances where I¡¦ve gone to see a show that I love so dearly and watched someone take on a character that I connected to on such a personal level when I read the script that I didn¡¦t leave with a laundry list of choices the actor made that I wouldn¡¦t have made (or vice versa) as an actor. It¡¦s a sad statement about the state of live theatre today, but true¡Kits extremely rare to see an actor completely lose themselves in a character, and even more rare when an actor is a friend of yours. You notice things particular to your friend peaking through the performance that you know weren¡¦t conscious choices. That was not Valerie up there¡Kit was Catherine. I can¡¦t stress enough how amazing this performance was.

Foy Tootle might just be my new favorite actor. As an actor is it so inspiring to see another actor attack the material the way that Foy did. The show itself is very conversational¡K add to that the fact that the character weaves in and out of insanity not only within the course of the play, but the course of a scene or a speech and you¡¦ve got a huge challenge. You could see the shifts in and out of madness with his body, you could see it in his eyes, you could hear it in his voice¡Ksometimes it was blatant and sometimes it was subtle, but it was there and it was real and it was breath-taking and it was heart-breaking. His performance reminded my why I became an actor. In speaking with the cast during the rehearsal process they said that they fed off of his manic energy and ability to really command the conversational style that the dialogue is written in and now I know exactly what they were talking about.

Jamie Fambrough was perfect as the nerdy math student/love interest. This is probably the best I¡¦ve ever seen Jamie on stage. And yes, Holly Ghost¡Khe¡¦s a nerd in real life, but I¡¦m not sure that he¡¦s quite that nerdy ƒº

Again, Jen Rager was the best I¡¦ve seen her. You could tell that she was the least experienced of the bunch, but you could also tell that she learned a lot and she¡¦s getting better and better. She held her own¡Kand in this group that¡¦s saying a lot.

It¡¦s a darn shame this show has closed, but I hope this foray into contemporary drama is something that is going to be continued. There is a lot of amazing work being written today and it needs to be seen and if this show is any indication, the Holly might just be the best place to see it.

Oklahoma!, by
Great show!!!! (3.5)
Tuesday, March 21, 2006
3.0
I’ve been in love with musical theatre almost my entire life and as sad as this is to admit, this is the first time I’ve seen Oklahoma the entire way through (and I own the Rogers & Hammerstein DVD box set). I have a love/hate relationship with Rogers & Hammerstein…without them musical theatre as we know it today would not exist, but damn if most of their shows aren’t super cheesy and “apple pie”. That said, I found this show quite entertaining, despite an extremely weak leading lady. Now that I’ve mentioned that I’ll go ahead and discuss it and get it out of the way. I hate being so “harsh” on someone who hasn’t ever had a leading role before (as stated in her bio in the program)…so much so that I almost didn’t even review this show because to do so and to just not mention this particular performace would, to me, be a ding in the armor of my credibility, and I take my reviews VERY seriously, but there were too many good things in this show to NOT review it, so here goes…

Physically she very much looked the part of Laurie, but to me good theatre means more than just casting people that look the part. In fact, that should be the last thing on the checklist, unless there are specific things in the script that are dictated by a physical trait of the character in question. Her acting left a lot to be desired. She was saying the words, but it was like nothing she was saying was connecting in any real way. She could have been reciting the menu at the Corkscrew for all I knew. I’m not sure how familiar you are with “Waiting for Guffman”, but her performance had Libby Mae Brown (Parker Posey’s character) written all over it . Vocally she left a great deal to be desired as well. I know, being an actor myself, that nerves can sometimes get the best of us, especially as a singer. Lord knows I’ve blown many a vocal audition because of nerves…my voice is always the first casualty as far as nerves go. I was at the 3/11 show which, if I’m not mistaken, was opening weekend. You could sing like Julie Andrews in the shower, but if you can’t keep it together enough to be able to do it during a performance then it doesn’t really matter. I’ve heard that her voice has gotten a lot better during the run, which is great, but I can only comment on what I saw the night I went. Overall I’d give her 2 stars out of 5. ***For those of you keeping score at home this is the one disagreement I had with HollyGhost’s review***

Steve Batchelor, as Curly, did a fine job. He looked like a Curly, though maybe not a broad and as strapping as one might envision, but every bit as handsome and as charming a Curly as you could as for. And he’s got a GREAT voice, though with a bit more pop flavor that you might want in a Rogers and Hammerstein leading man. I thought he did a good job. He’s been cast in Black Bear’s upcoming production of Godspell, which I think will compliment his voice on a level that Rogers and Hammerstein can’t. I’m very much looking forward to working with him. A solid 3.5 out of 5 stars.

The three real stand-outs of this show were Karla Owens (Aido Annie), Nick DeMore (Will Parker) and Gloria Szokoly (Aunt Eller). They were the real backbone of this production, imo. WOW! I have worked with all three of these actors and they were all at the top of their game in this show. I don’t think that Karla could have possibly been any cuter as Aido Annie. She was right on the money with her characterization and her voice sounded better than I’ve ever heard it sound. Her comedic timing, as well as Gloria’s, was impeccable. Gloria could honestly play Aunt Eller professionally. And Nick was the perfect compliment to Karla’s Aido Annie. They fit together SO WELL and played off each other perfectly. Nick was so darn cute! And what a voice! They all get a 5!

Another performance that needs to be noted is Craig Lovell as Ali Hakim. SO funny! I had no idea what a good character actor Craig is. This is the largest part I’ve seen him in, but I look forward to seeing him in many more role and even larger roles.

The costumes were good. The set was great (as usual at the Holly). The ensemble looked like they were having so much fun that you wanted to join them…that’s important when you have a show like this with such large ensemble numbers.

I’ve said this before and I’m sure I’ll say this MANY more times…I wish we could give ½ stars, but since we’re limited to whole stars I give this a 3 out of 5 stars.

Rocky Horror Show, by Richard O' Brien
3.5 Ah, the bygone days of my youth...
Monday, September 26, 2005
3.0
Wow, long time, no review! I haven’t had a chance to see nearly as many shows this year as I had originally intended, however when I was lamenting the fact to a friend he said “Well, would you rather not be working so that you can see more shows and review them?” Point well taken. I'll try to keep this short and to the point. This is the first show I've ever seen at Dad's Garage, so I didn't really know what to expect. I've always respected the fact that they choose shows that no one else has the balls to attempt. I have deep affection for Rocky Horror dating back to 8th grade...and in high school I went to see RHPS every weekend...usually twice a weekend and eventually was Janet in a local cast for a while. That being That being said, this is the first time I've seen the actual stage version of the show. The campiness of the script can allow you to go two ways as far as casting depending on what kind of show you want. You can either have a fabulously talented cast or you can cast people who are really funny and passionate about the show and who are “balls-to-the wall” energy-wise who can compensate for the fact that they aren’t the best singers or dancers. At first I was convinced that Kate Warner had gone with the latter of the two directions in her casting, however the passion and the energy was severely lacking, so I was left scratching my head when I left. Maybe it was an off night (we were there Friday night), but energy was the main weakness of this show as far as I am concerned.

The standout of this show is without question Doyle Reynolds as the narrator…and his f*&^ing neck (that’s a shout out to all of you familiar with the movie and audience partici…pation). I absolutely loved watching him. He really seemed to understand the spirit of the show and was dead-on. His opening song for Act 2 was so much better than any of the other musical numbers in the show, all of which seemed lacking in commitment and energy. Two other honorable mentions for MVP go to Joey Ellington (Brad Majors, a$$hole) and Jessie Dougherty (Janet Weiss, slut). Both had a great energy about them and had good voices. It seemed that Jessie struggled a little with her upper register, but she has a great middle and chest voice. WOW! Rock on, girl. Chris Skinner (Rocky) was also pretty damn good as far as his energy and his voice is concerned. Almost a little too “with it” for the character though. He’s supposed to be as dumb as a brick and I never got that sense from him.

The usherette (Katy Carkuff) opens the show and I had a hard time hearing her song…which is odd, because the space is pretty small. Projection in a space that small shouldn’t be difficult. I thought her energy overall was pretty low and I wasn’t particularly impressed with her character choices for Columbia.

The decision to cast a woman as Riff Raff (Cooper Shea) and a man as Magenta (Steven Emanuelson) was interesting, but not effective. I wasn’t wowed by either of their performances (despite Cooper Shea’s impressive bio) and I thought that Magenta being so obviously a man in drag detracted from Frank being a sweet transvestite. Maybe other people weren’t bothered by it, but it just didn’t work for me. Geoffrey M Brown as Frank did an okay job, but he just didn’t have the charisma that Frank has to have in order for you to buy the fact that he convinces both Brad and Janet to give in to his advances. Travis Sharp’s Eddie was a little iffy, but he more than made up for that as Dr. Scott. He was HILLARIOUS! Just looking at him as Dr. Scott before he even said anything had me in hysterics and I could just tell he was going to rock it out…und he did.

All in all this is a FUN, FUN show despite some energy issues and despite a few weaknesses in vocals. Its so much fun! Please do yourself a favor and check it out.



***Okay, so that wasn't quite as brief as I had intended.

Crimes of the Heart, by Beth Henley
Good show!!! (Long-winded review)
Friday, May 20, 2005
3.0
If I could give this a 3.5 I would. I thought that this was a really good show. The set was GREAT (as is to be expected at the Holly). The only thing that bothered me (and this is insanely picky) is that I sort of envisioned this to be in one of those old, historic Southern homes. There is a house like that on the program, so I figured I might be right in my assumption. That said, I thought that the “ceilings” should have been higher and the boarder around the wallpaper in the kitchen a few feet higher. I used to live in an old antebellum home when I was in school in Milledgeville and the ceilings were super high. I wouldn’t ever take any points away on a review for something like that, but I thought I would mention it.

There are a few points during the show at which there is a radio on stage that is turned on. I’m not sure what was going on, but I could barely even tell that there was music on, let alone what the song was. I thought maybe the sound system was going haywire, but the intermission and pre and post show music was very audible. That was really the only technical glitch that bothered me.

The two real standout actors in the show were Brooke Adams (Meg) and Therena Cook (Chick). They were both completely believable in their roles. They really understood Meg and Chick and channeled them. They were such a joy to watch and as an actor I would love the opportunity to share the stage with either one of these women. Jamie Fambrough was excellent as Doc Porter. This is the first show I’ve seen him in and I was very impressed. I look forward to seeing more of what he can do. John King (Barnette Llyod) was good. There was a little bit of a projection issue, but I was sitting up in the balcony. A lot if his lines were rushed, but he’s young…that will take care of itself with more experience and training. He’s got a great presence and raw talent. I can’t wait to see what he’ll be doing in about 10 years.

It’s a small world…especially in the theatre. In reading the program I discovered that Charity White and I have a weird connection. She thanked Scott Price for introducing her to the character of “Babe” in high school at Washington County. Before he was the theatre director at Washington County Scott Price was the head of the theatre department at Georgia College & State University where I went to school. He was the person who recruited me and gave me my scholarship money and all the good stuff. Its neat to run into people who have studied with the people you’ve studied with. Its always tricky playing a part that you’ve played before…especially a part that you played while still in high school. I felt like Charity never really came close to understanding Babe. She was saying the words and going through the motions, but it was like there was no connection to the character at all. At no point did I ever feel like I was seeing Babe. We as actors have bad habits that we have to consciously work at to conquer. There were lots of instances when delivering lines she had a tendency to look up with her eyes…almost as if her lines were written on the underside of her brow bone. It was a focus issue…and one of my pet peeves as an audience member. I’m not pointing this out to be mean or to embarrass her. I had (and still have) a tendency to deliver my lines with my chin way up…like I’m sitting on the floor looking up at someone. Its just a nervous habit, but something that shouldn’t be happening when I’m on stage. Echoing what Holly Ghost said Kerry Rosewall (Lenny) played the matronly part of Lenny well, but again…I felt like there was a disconnect somewhere. She was saying the lines but I never saw Lenny. Vocally I felt like there were levels that needed to be there that weren’t. The lines were almost all delivered the same way. I kept waiting for her to kick it up into the next gear but that never happened.

All in all, this is a great show. Colleen rocks. I have no idea how she does all that she does. She did a fine job with this show. I think that the cast and crew should give themselves a huge pat on the back. I would definitely recommend seeing this show if you can. I also recommend checking out the strawberry cake at intermission. It is to die for!

Cabaret, by Kander and Ebb
Another 4.5...
Monday, February 28, 2005
4.0
The last two weekends have renewed my faith in Atlanta theatre. First Hair and now Cabaret. Thank you, thank you, thank you! While not a perfect "5" the show came pretty close to it. This was my very first trip to Neighborhood Playhouse. It always amazes me how small the theatre circle is here in Atlanta. I spent the entire first act trying to figure out why one of the Kit Kat girls looked so familiar to me and then I realized that we ran for State Officer together the same year at Thespian Conference in high school. Its so great to see people that you knew via theatre "back in the day" doing really great work as adults. Now onto the particulars...

This has been said over and over, but I want to say it again...David Rossetti (Emcee) is the real stand out in this production. We were on the front row Saturday (which was the best place to be, imo) and his interplay with the audience was so fun and seemed so effortless. The Emcee is a tough role and it would be really easy to make a mess of it, but David was dead on and engaging the entire time. I felt more of a connection and an emotional investment in his character than I did in any of the other characters (which isn't really a great thing, but I'll get to that in a minute)and while that has very little to do with the script its a testament to how amazing he is in this role.

Jennifer Macqueen's choreography was brilliant. Very, very Fosse...tight, to the point, and perfect. All of the Kit Kat girls did a great job. They were fun to watch and you could tell they were enjoying what they were doing. The only real issue I had at any time with any of the Kit Kat girls was the scene where one of them is shooting up and there was this really over-the-top convulsion (jeez, this comment combined with my comments about Hair on the subject are going to make me look like I have much more experience with these kinds of things than I actually do, but they were distracting to me). I have zero first-hand knowledge of the subject (Thank God!), but I'm really not sure that you'd convulse as if you were having an intense seizure like that in that situation (I've seen Trainspotting...I know what's up..hehehe). I'm not sure if there was an "orgasmic" motivation behind that or what, but again...it was like watching a cheesy afterschool special. It just didnt seem realistic to me at all.

Laine Binder (Sally Bowles) has one of the most powerful "belt" voices I've heard in a very, very long time. It seemed though that at the end of her songs she'd pushed so hard throughout the course of the song that she was totally spent and the endings were all really, really shaky and not nearly as on spot as the rest of the song. I also never developed any kind of emotional conncetion with Sally...and that's sad. Facial expressions weren't there...a real depth of character seemed to be missing and I very much wanted to have that conncetion. I wanted to feel some empathy for her and that never once happened. I had the same issue with Dejie Johnson's portrayal of Fraulein Schneider. Amazing, amazing voice, but I didn't see that inner struggle when deciding not to marry Herr Schultz. She got very emotional during "What Would You Do" at the end, but that was the only time I sensed any kind of emotion from here and that's where it ended.

All said, it was a really great show. I highly recommend checking it out... you'll end up kicking yourself if you don't.


Rebekah.

Hair, by Gerome Ragni, James Rado and Galt MacDermot
What a piece of work was HAIR!!!
Sunday, February 20, 2005
4.0
This review really should be a 4.5...however, I don't round up. The few things that kept this from being a 5 are really minor, picky things, but I'm of the opinion its those little things that make the difference between a 4 and a 5 show.

The real standouts for me were Valen Doir (WOW! what a voice), Leslie Ridgeway (Great voice!!! And I could listen to her speak for hours on end), Mark Schroeder (Oh my gawd! He made Woof so loveable...Mick Jagger poster and all. Really interesting, great singing voice and he was almost unrecognizable from when I met him briefly last summer post-Nunsense. As an actor that's really the goal, isn't it!?), and Alex Picca (WATCH OUT! I have a feeling we're all going to be seeing a lot more of this guy...so to speak, I mean we've seen a lot already. I absolutely can't believe this was his first show). I'm so happy that I finally got to see Kristie in something. I've been reading about her for the past year now...so it was great to finally see her in action. She rocks! I can't wait to see her in something else. I thought as a group the cast was really, really solid. The music in Hair is really difficult to sing, imo. It goes against pretty much everything you're taught during the copious hours of voice lessons you subject yourself to as a singer. Really...everyone did such an awesome job. One thing that irked me was the sound. The mics sounded a bit tin-y (Meaning like tin. Not sure if that's how you'd spell it...tiny can't be right). It made voices that I think probably would have sounded fabulous sound flat and lacking a richness that should have been there. There were other mic issues too such as popping and whatnot. If you're going to do a rock opera you need to get mics that you'd use if you were actually doing a rock show, imo. I was so happy that the nude scene was kept in. It was done so tastefully and so quickly. I really hate it when directors cut that scene...why do the show if you aren't going to do the show the way it was written? And it was great that it wasn't just a bunch of waify women up there. Rock on you guys \m/!!!


The lights were great. Does the school own all of those lights? The circular moon that was in the middle of the stage was GREAT! Chris Kuroda (Phish's lighting designer)uses a similar white circle in his stage set up and you can do some cool stuff with it. It was nice to see that utilized. The lighting aspect very much was like being at a concert. I wish the sound had as well.

There were two other little picky things that kept this from being a 5...THE WIGS. I know good wigs can get pricey, a lot of the ones used in the show were so bad...it gave it an almost campy feel and I think the quality production didn't warrant that. And why was Alex's wig blonde? When he comes out sans wig at the end he's obviously got dark hair....why not get him a dark wig? I know that sounds silly, but when he came out with brown hair at the end I was like "Why did they give him a blonde wig? UGH!" The other small thing that I found a bit distracting was when the cast was in the audience talking about pot and coming to the party...it was like I was watching an After-School Special. It just didn't seem to me like they really knew what was going it. It was like an undercover cop asking if you have any "pot" to sell. Like I said, I know these things are picky, but they screwed with my willing suspension of disbelief.

All said, I was extremely impressed. It made me wish like hell that I had auditioned.

See How They Run, by Philip King
Funny, funny show...
Monday, January 10, 2005
3.0
This is my very first review on TR. One of my New Years Resolutions was to go see more shows and to write about them, so that’s precisely what I am doing. I’m new at this, so please be gentle :)

Knowing the space that Kudzu has to work with I was very curious as to how they were going to pull off a show basically about doors, but once again I was very impressed that Wally and the crew were able to make it work…and make it work well. Its always fun to see how the huge column in the middle of the stage is going to be incorporated into the set design. In this case, if I didn’t already know that it was there I wouldn’t have noticed it at all.

Matthew Cornwell (Clive) was AWESOME. This is the first thing I’ve ever seen him in and I hope its not the last. I thought Tom Thon (Mr. Humphrey) and Larry Farrell (Bishop of Lax) were also extremely funny and so much fun to watch. Brandy Meinhart was lovely as the vicar’s wife. I think she’s got a nice voice, taboot (even if she was just la-la-ing…I think I just made up a word). I think she should start trying her hand at musicals :)

British farce is tricky. You want the pace to be frenzied, but at the right places. There were one or two places where lines were rushed at points where it didn’t make sense for them to be, but overall I thought the pace of the show was great. Some of the accents were a little “iffy”. I felt like there were a few times where people would go in and out of their British accent. There was an Australian accent in the mix somewhere…which left me wondering ig that was a conscious decision. There was a cockney accent that wasn’t very cockney…just sounded like mush-mouth, but cockney is a helluva hard accent to get. The one real disappointment for me in watching this show was that the character who was clearly written to steal the show did not steal the show. With facial expressions fluctuating between what seemed to be possible demon possession and this really odd, thoroughly unnatural opened-mouth gape and a very repetitive arm flinging gesture, I found that this character was not only distracting while on stage, but was also extremely annoying…and the character is not written to be annoying.

Congratulations, Jason on pulling this off. Farce is an ambitious undertaking. I had a great time and for anyone looking for a fun night out I’d highly recommend checking out “See How They Run”. If I could give this a 3.5 I would, but I can’t and I’m a hard ass (can I say that!?), so I’m giving it a 3.

OPENING SOON
Home for the Holidays 2017
by Our Audience
Good Acting Studio
CLOSING SOON
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Dickens Christmas Carol: A Traveling Travesty in Two Tumultuous Acts
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ACT1
Home for the Holidays 2017
by Our Audience
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Miracle on South Division Street
by Tom Dudzick
Live Arts Theatre
NOW PLAYING
A Funny Thing Happened on the Way to the Forum
by Burt Shevelove and Larry Gelbart (book), Stephen Sondheim (songs)
Centerstage North Theatre
Another Night Before Christmas
by Sean Grennan, with music by Leah Okimoto
ART Station Theatre
Christmas Canteen 2017
by Brandon O’Dell
Aurora Theatre
Dickens Christmas Carol: A Traveling Travesty in Two Tumultuous Acts
by Mark Landon Smith
ACT1
Frosty!
by Catherine Bush (words) and Dax Dupuy (music)
Actors Theatre of Atlanta
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Miracle on South Division Street
by Tom Dudzick
Live Arts Theatre
Miss Bennet: Christmas at Pemberley
by Lauren Gunderson and Margot Melcon
Theatrical Outfit
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by Joan Cushing
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