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COMPLETENESS (Theatre Exile): Algorithms and geek romance

Seduction by examples of computational intractability

Christiani Pitts & King Kong. Photo Joan Marcus

KING KONG (Broadway Theatre): Going ape on Broadway

We like our fantasies to be readily identifiable as such and to be realistic in their details.

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LONG TROUBLE (Svaha Theatre Collective): 2018 Fringe review

There’s a lovely simplicity in Elise D’Avella’s staging of the tragic story.

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TRUE WEST (Subscension): 2018 Fringe review

This little company has heft and promise. The Fringe has given them the opportunity to launch and they’ve certainly taken advantage of it.

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THE PRESENTED (Chris Davis): 2018 Fringe review

Chris Davis has come into his own as an exuberant and irresistible Rumpelstiltskin who spins his own life’s straw into gold.

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FLY EAGLES FLY (Tribe of Fools): 2018 Fringe review

With life and football you have to push through it all to get to the joy.

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ECCENTRICITIES and random notes on Tennessee Williams

Tennessee Williams slept with my boyfriend’s father. I love saying that at a party.

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SONGS OF WARS I HAVE SEEN (Heiner Goebbels): 2018 Fringe review

An imaginatively textured musical performance in which music, sounds, and speaking are of a piece

Photo by Ashley Smith, Wide Eyed Studios

FUN HOME (Arden Theatre): LOL misery

The Bechdel family has a funeral home (dubbed Fun Home by the kids) and also a not-fun family home.

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HOPE AND GRAVITY (1812 Productions): “Even the lightest things come crashing back down to earth.”

There are many good comedies out there, but not many where the weight of tragedy crests and wanes beneath the laughter.

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SING THE BODY ELECTRIC (Theatre Exile): Electricity sparks and glows brightly, then sputters

Is there more still left in the playwright’s head that didn’t make it to the stage?

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THE PRODUCERS (Bristol Riverside): Bialystock & Bloom, mini-Madoffs of the theater world

Mel Brooks’s THE PRODUCERS has gone from Screen Comedy to Musical Comedy to Screen Musical Comedy and back to the stage again.

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COPENHAGEN (Lantern): Observable quantities

I suspect that among the reasons COPENHAGEN has been so successful is that it invites us to believe that we are smarter than we actually are

Baskerville Walnut Street review

BASKERVILLE: A SHERLOCK HOLMES MYSTERY (Walnut Street): Ken Ludwig’s version turns the story on its head

An ancestral manor, a family curse, a fiend: Ken Ludwig’s version turns this Sherlock Holmes story on its head.

Gregory Isaac and Leigha Kato. Back, l to r: Lee Coropassi, Doug Hara. (Photo by Shawn May)

MY FAIR LADY (Quintessence): A splendid holiday gift

A jubilant mix of beautiful music and songs, dancing, magic, social politics… and elocution

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TOUCHTONES (Arden): This must be a bad connection

Naughty and nice collide in TOUCHTONES, a musical fantasy in world premiere at the Arden.

Alexis Pozonsky as Amanda in BUT NEXT NOT THIS.

BUT NEXT NOT THIS (Hella Fresh Theater & Hum’n’bards): A bi-coastal experiment

A great idea for an experiment, but I’m not convinced that the reality plays out as well as the concept.

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ALCHEMIST (Chris Davis & Mary Tuomanen): 2017 Fringe review

A friend “knows who you are and forgives you for it.”

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