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THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS & COUNT LEO TOLSTOY: DISCORD (Lantern Theater Company): Locked in limbo with literati

The Lantern team transforms an essentially all-talk playscript into an engaging, living piece of theater.

Mattie Hawkinson (as Penthea), Josh Carpenter (as Orgilus), Gregory Isaac (as Bassanes). Photo by Shawn May.

THE BROKEN HEART (Quintessence): Dark matter

Melancholy John Ford was more ‘himself’ and less ‘Shakespearean’ than other less bold Cavalier dramatists.

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CORIOLANUS (Lantern): Succeeding with a Shakespeare many companies wouldn’t attempt

With a strong cast and design wizards the Lantern has made CORIOLANUS a visceral, lively and thought-provoking experience

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SEAGULL (EgoPo): A comedy of torn hearts and thwarted dreams

The pathetically unfulfilled romantic expectations! The sad characters and absurd human comedy! EgoPo nails it, and beautifully. Sketches by Chuck Schultz.

(l-r) Tom O'Keefe, Edmund Lewis, Eric Tucker, and Andrus Nichols in HAMLET. Photo by Jenny Anderson

HAMLET (Bedlam Theater Company): “Shakespeare’s most underrated comedy” is at McCarter in Princeton

Bedlam’s imagination and the energy of their acting make their production stand out.

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WILDE TALES (Quintessence): Where the WILDE things are

Oscar Wilde once wrote to a friend that his two books of fairy tales were intended “partly for children and partly for those who have kept the childlike faculties of…

Denis Arndt & Mary-Louise Parker in HEISENBERG.

[NYC] HEISENBERG and VIETGONE (Manhattan Theatre Club): A weekend report

Thoughts on two shows, HEISENBERG and VIETGONE, under the auspices of the Manhattan Theatre Club.

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GILBERT AND SULLIVAN’S SWITCHED! OR THE INSIDER AND THE OUTSIDER (Tavern Productions and PAFA Performs): 2016 Fringe review 72

“It’s this topsy-turvydom that people are drawn to,” lyricist Kevin Stackhouse said when we talked before the show. “People like to feel smart, and what comes out of Gilbert &…

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ONE-MAN APOCALYPSE NOW (Chris Davis): 2016 Fringe review 38

Who but Chris Davis would even think of a ONE-MAN APOCALYPSE NOW?

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A STREETCAR NAMED DESIRE (Deep Blue Theatre Collective): 2016 Fringe review 20.1

Deep Blue goes for the jugular with a serious staging of STREETCAR, Tennessee Williams’s beloved, hard, and overheated play

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NOTES OF A NATIVE SONG (Stew and Heidi Rodewald): 2016 Fringe review 9

“Won’t you follow me down to Baldwin Country? This ain’t your mama’s Baldwin Country.” The show opens with offhand remarks by Stew, a large black man up front at a…

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JAMAICA (New Freedom): A great big musical full of vibrant colors, delectable lyrics, high spirits, and island vibes

New Freedom Theatre in North Philadelphia is dedicated to presenting productions that illuminate the multifaceted African American experience. Their current production, JAMAICA, is based on a musical that opened on…

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[NYC] THE TOTAL BENT (Public Theater): In world premiere in NYC, a messy rocking musical has Philadelphia connections

The action transpires at the nexus of tradition, belief, protest, crass commercialism, and rock ‘n’ roll, shedding light on differing views of the budding Civil Rights movement within the black…

Ian Merrill Peakes (L) & Maboud Ebrahimzadeh (R)
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THE CRIPPLE OF INISHMAAN (Curio): A light surface has a dark pull

Something funny across the surface with dark issues riding just under it.

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DOCTOR FAUSTUS (Quintessence): If you want to know everything, go to hell

A remarkably original and gloriously entertaining version of the Marlowe play.

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THE WOMEN (EgoPo): An engaging show turns a trifle into a treatise

Clare Boothe Luce saw her 1936 play as a critique of certain malicious denizens of Park Avenue. Director Lane Savadove sees more in it.

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TWELFTH NIGHT (Filter Theatre in association with the Royal Shakespeare Company): A rousing Shakespearean travesty

The Filter ensemble shows the audience a good time with lots of music, noise, and laughs within a Shakespeare play environment.

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THE SISTERHOOD (MAUCKINGBIRD): A delightful hi-brow comedy skewers hi-brow pretensions

While some plays are heavy three course meals, THE SISTERHOOD is definitely dessert.