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Caldwell Theatre Company - CLOSED

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Caldwell Theatre Company
  

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7901 N. Federal Highway Boca Raton, FL 33487

561-241-7432 

http://www.caldwelltheatre.com  

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7901 N. Federal Highway Boca Raton FL 33487

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Description

Nestled in the luxurious Count de Hoernle Theatre on the border of Boca Raton and Delray Beach, the Caldwell is South Florida's oldest professional theater company, and it remains one of the largest in terms of audience capacity. The quality of work various from modern masterpieces to head-shaking misfires. But since artistic director Clive Cholerton inherited the theater's reins a couple of years back, the material has been anything but predictable, including avant-garde world-premiere musicals and fresh-off-Broadway dramas to experimental literary adaptations. The auditorium's video projection system, employed in just about every show, has brought the Caldwell to the forefront of theatre's technological vanguard.








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Back to Top New Times Broward-Palm Beach Awards | Visit the Best Of Website

  • 2012 | Best Actor

    Six Years was one of the more underrated productions of the past year, especially for the colossal performance of Todd Allen Durkin. He essentially carried the entire play on his shoulders, discovering a complete spectrum of human emotion in an otherwise imperfect postwar panorama. Many months later, it's difficult to recall the goings-on in Six Years, which followed the tumultuous marriage of two people, in six-year increments, from the end of World War II to Vietnam. But Durkin's... More »

  • 2012 | Best Set Design

    The set design in the first act of this elaborate comedic drama about the proto-pack-rats Homer and Langley Collyer is impressive enough, a stately Brooklyn mansion oozing wealth and containing the subtlest, earliest signs of hoarderdom. By the time you return to your seat after an unusually lengthy intermission, you witness an epic transformation that looks like it was an art project months in the making. The act takes place nearly two decades later, and instead of anachronistic opulence,... More »

  • 2012 | Best Theater Season

    The Caldwell Theatre may be South Florida's oldest theater company still in operation, but there was a time when it didn't have the esteem of the county's dramatic powerhouses, Mosaic and Dramaworks. In the mid- to late '00s, the theater's forte seemed to be conventional, familiar audience pleasers rather than provocative think pieces -- a pair of Steel Magnolias for every Doubt. This is no longer the case, particularly since Clive Cholerton took over the reins as artistic director.... More »

  • 2011 | Best Ensemble

    The Caldwell's Clybourne Park cast was an embarrassment of riches, chockablock with so much A-list local talent that it almost didn't know what to do with all of it. The play looked at the shifting tides of racism in two acts separated by a generation of time, a conceit that gave the seven-piece cast 14 characters to portray. The ensemble included Gregg Weiner, imposing as ever as a bespectacled, overtly racist stuffed suit turned frustrated Everyman; Cliff Burgess as a boisterous reverend... More »

  • 2011 | Best Supporting Actor

    Michael McKeever earned the Caldwell Theatre's sole award nomination in the Carbonell, the local yearly awards for theater. And for good reason. In an imperfect supporting cast -- some of whom phoned in their performances -- McKeever was the anchor of the unsteady ensemble. Like many in the cast, he played multiple parts, all of them doctors, all of them convincing, all of them chattering through obtuse psychological and medical jargon with convincing, Kafkaesque absurdity. His... More »

  • 2010 | Best Theater Season

    It's definite: The Caldwell is fusty no more. Its last season, helmed by new Executive Artistic Director Clive Cholerton, was powerful, varied, and risky. He took some knocks for that, of course -- nobody much liked The Old Man and the Sea, which in retrospect probably didn't need to be turned into a play -- but mostly, the word among theater people is that Cholerton is the most exciting thing to happen to the performing arts in SoFla in years. The first show he mounted while... More »

  • 2010 | Best Musical

    What we like about musicals is the music. What we don't like so much is all the silliness that so often accompanies it. The too-big emotions. The absence of character development or subtlety. The bombast. Well, Vices had none of that shit. It was all brilliant, catchy music with lyrics that were in turn moving, mysterious, creepy, and funny, tied together with thrilling modern dance, courtesy of A.C. Ciulla. Great stuff. Let's see more like it. More »

  • 2010 | Best New Play

    Brash, ballsy, tuneful, and strange, the musical called Vices rolled back the years at the once-fusty old Caldwell Theatre and made it young again. It was written by a whole flock of songwriters: Michael Heitzman, Ilene Reid, Everett Bradley, and Susan Draus, from a book by Heitzman and Reid. They took on the loose theme of, you know, "vices." The play is a sometimes-violent clash of styles and sensibilities, sewn into cohesion by A.C. Ciulla's inventive, multidisciplinary choreography and... More »

  • 2010 | Best Theatrical Costume Design

    The Voysey Inheritance is set in an upper-class English household in the waning years of the 19th Century, and costume designer Albert Arroyo captured the visual essence of the era in style -- for all dozen of Voysey's lead characters. Especially noteworthy was his work with actresses Lourelene Snedeker, Katherine Amadeo, Kathryn Lee Johnston, and Marta Reiman, who, in this male-dominated play set in a male-dominated era, didn't have a whole lot to do. Thanks to Arroyo, they could at... More »

  • 2008 | Best Supporting Actor

    As Father Brendan Flynn in John Patrick Shanley's Pulitzer Prize-winning Doubt, Terrell Hardcastle had what looked like the time of his life screwing mercilessly with the heads of his audience. Doubt is a play about, well, "doubt" -- specifically, the doubt of a nun considering what to do about a priest whom she suspects is molesting a pupil. She isn't quite sure, of course, and neither are you. There's the rub. But you think you're sure, over and over again: big bad Sister Aloysius... More »

  • 2008 | Best Supporting Actress

    Doubt had the two trickiest supporting roles of the theater season, and in retrospect it's hard to imagine Pat Bowie's part going to anyone else. Bowie played Mrs. Muller, a black mother in the 1960s Bronx, whose young son may or may not have been molested by a parish priest. Bowie's sole scene came when she was summoned to the office of the school's headmistress, the very-stern Sister Aloysius. Aloysius voiced her suspicions, and Mrs. Muller, rather than being shocked or horrified, told the... More »

  • 2008 | Best Play

    South Florida should be very proud. In any other year, Thom Paine, The Clean House, 9 Parts of Desire, or The Fourth Wall would have all been shoe-ins for Best Play. Alas, this was a year of staggering theater, and no show was quite so staggering as Doubt, probably the best play John Patrick Shanley ever wrote. Caldwell Theatre gave it the cast it deserved, and people filing out of the theater were heard to wonder aloud not only about the play's real meaning but about the purpose of theater... More »

  • 2008 | Best Set Design

    The Clean House was a play about the importance of getting filthy, and no play in the last year or two has enjoyed a set that so perfectly captured its theme. Beginning as the oppressively clean domicile of a couple of doctors, by the end the stage is an irreparable mess -- or so it would appear; since they had to repeat the process several times a week, the irreparability of the cast's wanton destruction was probably an illusion. At one point, the house gave way to a two-story beach... More »

  • 2000 | Best Theater for Plays

    Artistic director Michael Hall brought together such a disparate collection of dramas, comedies, and other compelling offerings last season that it's difficult to characterize the personality of his Caldwell Theatre Company. From the tense, prickly production of Paula Vogel's How I Learned to Drive to the unrealized yet maniacally funny rendition of Oscar E. Moore's King's Mare to Charles Nelson Reilly's hilarious one-man show, The Life of Reilly, the thread holding the Caldwell works... More »

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