Civilization is not easy to maintain. One knock and the lapse of a moment can set it off kilter.
A curiously performed version of Arthur Kopit’s unnecessary rearranging and cheapening of The Philadelphia Story.
Death, as experienced in director James Ijames’s comic yet movingly evocative production of Sarah Ruhl’s play, is a continuation of life.
Seeing a naturalistic play by one of the masters of the form, Arthur Miller, with a cast and set that are as realistic and as authentically moving as the text, is a rarity and a treat.
The Bearded Ladies latest show is planted full of good ideas, some of which germinate, some of which reach farther than they can comically travel, and some of which die on the vine.
Each year, Philadelphia-based reviewer Neal Zoren announces his choices for the Helen and Morris Zoren Awards for World Theater. A fair number of the picks on Neal’s list are performers and productions from the Philadelphia area.
Director Russell Treyz grants quarter to cogent, cohesive storytelling in his production Mark Brown’s adaptation of AROUND THE WORLD IN 80 DAYS for Pennsylvania Shakespeare Festival.
I have seen a dozen productions of I HATE HAMLET, including the legendary Broadway staging that induced Evan Handler to complain to Actors Equity against co-star Nicol Williamson. This is one of the best.
The title of Jonatha Brooke’s presentation with music, MY MOTHER HAS 4 NOSES is literal.
HOW TO WRITE A NEW BOOK FOR THE BIBLE is a story about a life, a biography centered on the changing regard we have for our parents as we see them age.
As always with an Alexander Burns production, imagery is rife, props are creative, and jokes come as much from sight gags as from dialogue.
It’s an old show biz maxim, and true, that an adult cannot expect full attention if he or she is working on stage with a dog or a child.
Off stage, David Newhouse looks nothing like Groucho Marx. In makeup, Newhouse’s transformation is astounding.
Republished by kind permission from Neals Paper. Kurt Weill’s insistent tingel-tangel score for THE THREEPENNY OPERA pervades the Vasey Hall stage, with horns and drum pumping to a martial beat that…
One of the funniest and most entertaining of all shaggy dog stories.
The young talent the school is grooming stands out in the Temple Theater production of Stephen Sondheim and George Furth’s MERRILY WE ROLL ALONG.