I feel like I know the value of experimental theater thanks to the folks at Target Margin.
A visceral, exquisitely written, three-person anxiety attack
The Arden Theatre Company’s world premiere of THE LIGHT PRINCESS mixes up a elixir of make-believe
Turn off your phones, step away from your laptops, and run, don’t walk to the Irish Heritage Theatre’s first ever Barrymore-eligible production.
DISHWASHER exposes a reality of life: Performing a monologue can be a service just like washing a dish
Theater’s Second Sex: Caridad Svich on playwriting as a woman, as an act of political resistance, and for the first Philadelphia Women’s Theatre Festival
When Caridad Svich decided to be a playwright, she read every playwright in the public library. Only one of them was a woman. Svich talks to Phindie ahead of the PWTF.
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.
The enthusiasm of this production is infectious; Fringe exists for productions just like it.
Theater writer Jessica Foley is seeing 20 Fringe plays in 20 days. Why is she starting with Ionesco’s Rhinoceros?
The Bearded Ladies and Opera Philadelphia present Stage 2 in the development of Warhol-inspired ANDY: A Popera
Wednesday, July 16th, The Bearded Ladies and Opera Philadelphia will lay down stakes in the lobby of the Wilma Theatre, and, for two short weeks, perform an hour-long cabaret inspired by the outrageously influential life of Andy Warhol. Featuring original music by Heath Allen.
At the opening night performance of LaBute’s IN A DARK DARK HOUSE I had what alcoholics refer to as a moment of clarity: Suddenly an entire oeuvre littered with cruel antihero bastards made sense.
In September of 1900 Anton Chekhov confessed in a letter to his actress-wife Olga Knipper: “I find it very difficult to write THREE SISTERS, much more difficult than any other of my…
Philadelphia Artist Collective’s tightly-corseted production of Frederich Schiller’s Mary Stuart, starring the earth-shattering Charlotte Northeast and the finely-tuned Krista Apple Hodge will leave you white-knuckle-gripping the edge of your seat. Sitting in a severe theater-in-the-round circle, the audience itself forms four oppressive walls seemingly trapping the actors on the Broad Street Ministry’s cherry wood floor. If Schiller were alive today, he would raise a thumb in approval of director Dan Hodge’s minimalist approach.
Saturday, March 25th, 1911, 4:40pm a fire broke out on the eighth floor of largest blouse making factory in New York City, the Triangle Shirtwaist Company. 18 minutes later…
In The Bite in the Apple: A Memoir of My Life With Steve Jobs, Chrisann Brennan—Steve Jobs’s first girlfriend—wrote “Steve often said that he had a strong sense of having had…
Okay, Kevin Allison’s RISK! is the undisputed G-spot of the 12th annual First Person Arts Festival. The format is simple: five people step behind a microphone and relate their most private thoughts in the form of a story to an audience of strangers.
Ten seconds into Murmuration’s inaugural production of Jessie Bear’s brand spankin’ new play, MAKESHIFT, Brian David Ratcliff, stands like a little boy by his lonesome on stage in what he describes as a devastated post-apocalyptic earth donning a royal blue super hero cape, goggles strapped to his head, holding a tape recorder up to his mouth declaring: “I, Michael Bolton will save the world.” I thought: “Wow, we are really on the edge of a cliff here, and Oops, I think we fell off into—I don’t know what.”