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.
Ken Ludwig taps literature’s most iconic detective with BASKERVILLE, a funny, inventive, entertaining take on Arthur Conan Doyle’s “The Hound of the Baskervilles.”
ARIADNE AUF NAXOS predates Stephen Sondheim’s “Sunday in the Park with George” and David Hirson’s “La Bête” by decades, but the situation its plot depicts brings both of those later 20th century works to mind.
We see the tragedy of Oscar Wilde’s life played out creatively and movingly in OSCAR, a thoughtfully crafted opera by Theodore Morrison and John Cox,
Cline is a natural subject for the theater. Although the sad facts of Patsy’s marriage and difficult personal life are alluded to, ALWAYS… PATSY CLINE is more about a relationship a star was able to form with a fan than a full biography of the singer.
EM Lewis accomplishes two simultaneous intentions—to tell a story theatrically and to spur perspective on guns.