Who but Chris Davis would even think of a ONE-MAN APOCALYPSE NOW?
Deep Blue goes for the jugular with a serious staging of STREETCAR, Tennessee Williams’s beloved, hard, and overheated play
“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…
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…
[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…
THE INVISIBLE HAND (Theatre Exile): A gripping, thinking person’s play about the wages of self-interest
To call THE INVISIBLE HAND dramatic would be an understatement.
Something funny across the surface with dark issues riding just under it.
A remarkably original and gloriously entertaining version of the Marlowe play.
Clare Boothe Luce saw her 1936 play as a critique of certain malicious denizens of Park Avenue. Director Lane Savadove sees more in it.
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.
While some plays are heavy three course meals, THE SISTERHOOD is definitely dessert.
With his brilliant work and tragic arc, Oscar Wilde remains a fascinating figure.
In the wake of the Gunpowder Plot of 1605, Shakespeare is summoned to take on a play commission for the Crown.
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.