Return with us now to those thrilling days of yesteryear when Frank Rizzo strode the city like he owned it.
Eleven skilled performers play crew or actors on the set of a Colombian TV show about 1980s American drug pilot and adventurer Barry Seal.
Michael Frayn’s enormously popular 1980s play is a zany farce about doors and sardines, relationships, and mistakes.
Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.
Not many plays have this kind of unmistakable resonance. When you encounter such a play, you know it. With works of consequence you can feel the pull of intelligence and transformation moving under the surface.
There’s little inherent humor in a guy needing a kidney, but evidently no one told that to Michael Hollinger.
Get yourself a glass of wine and enjoy Porter’s musical repartee and stylish insinuation, the swell costumes, and the sophisticated atmosphere.
ALICE’s ADVENTURES IN WONDERLAND (Quintessence): Mystifying appearances and disappearances, levitations and mysterious goings-on at Mount Airy’s Sedgwick Theater
For the latest installment in their tradition of performing literary family classics for the holidays, Quintessence Theatre Group brings ALICE’S ADVENTURES IN WONDERLAND and its parade of beloved batty characters to Sedgwick Theater.
But you don’t have to be an egghead to enjoy this play. It’s a great show for non-physicists, a category that includes a whole lot of us.
[NYC] STICKS AND BONES (The New Group): A revival with a local connection is attracting attention in New York
STICKS AND BONES vents Vietnam era fury against a war that sent an endless stream of young men home damaged or in body bags.
Aaron Cromie’s good-natured portrayal reflects the real Lautrec, who retained his artist’s eye and famed geniality even as he joined his friends in their sad retreat into alcoholism and the dementia of syphilis.
It would be fun to call ANNA K an irreverent romp through Tolstoy’s 1870s novel, Anna Karenina, but in fact playwright Chris Davis reverences the material in his own way. For all its comedy, and there’s plenty in his South Philly-style version, the play scans the storyline and retains underlying issues.
Romeo Castellucci has poured his personal inspirations and philosophy into this remarkable abstract production, but ultimately viewers must determine its meaning for themselves. To this viewer, the piece is a resounding “NO.”
Whit MacLaughlin is going off the deep end with this one. Are you willing to jump in with him? New Paradise Laboratories’ handsomely crafted, meticulously acted, and totally weird production, is not easily accessible. Nothing much can be taken literally here, and the production doesn’t reward searching for specific meanings as it creates its own tilted world with its own skewed logic.
This Neighborhood Fringe show, directed by Sean Connolly, transpires in the murky basement of an old church in Manayunk. The space lends an ideal sinister atmosphere to a play which, like many psychological thrillers, is more intimation and suspense than action.
This entry in the Visual Art category is an art exhibit based on the association between the person looking at the art and the meaning ascribed to the art itself. The artist, Krie Alden, who spoke to me at the event, is excited to be a part of FringeArts, and she loves the idea of “the Fringe being on the fringe, where they support the unexpected.”
This love story, full of gags, comedic misunderstandings and lotsa heart, encompasses two smitten gay mummers, family devotion, and mummer-love.
Zeus has decreed that Muses from Mount Olympus are not allowed to fall in love with mortals – that includes the Muse Clio and a boy from Venice Beach. Therein lies a story of forbidden love, gumption, and sly swipes at certain Hollywood movies — especially XANADU (Universal Pictures, 1980).
HERRINGBONE (Flashpoint Theatre Company): A remarkably strange solo musical, about a boy … with a problem
This mighty peculiar story opens with a grown up George looking back at 1929 and singing, “Did ya ever have one of those years?” His parents have one foot in the poorhouse, as their only prosperous relative has just stinted them in his will. When eight-year-old George has the chance to take performance lessons from the surviving member of an old vaudeville act, he shows inexplicable ability beyond his years. Parental hopes for financial resurrection ride on little George singing and dancing his way to Hollywood.