GYPSY is an often produced classic for good reason and is terrific as Mama Rose in the Media Theatre’s production.
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.