Henrik Eger interviews Jen Silverman about her world premiere play THE DANGEROUS HOUSE OF PRETTY MBANE! and the issues it raises.

Hedgerow fellow Brock Vickers sat down to talk to director Kittson O’Neill and actor Jennifer Summerfield about the theater’s January production.

Power Street Theatre was founded in 2012 by two Latina Temple alums to showcase the talents of Latin American theater artists. It’s biggest production to date, MORIR SONYANDO, was part…

Debra Miller sees a LOT of theater. Indeed, she is the most prolific theater writer in town. Henrik Eger talked to Deb about her background and writing.

Christopher Munden is the publisher and editor of Phindie. In these pages you’ve probably read what he thinks about local theater and arts. But what’s his deal? Read Henrik Eger’s interview with…

No dance company on earth has a history as moving as the Kibbutz Contemporary Dance Company. KCDC’s story begins with Yehudit Arnon, an 18-year-old Jewish dancer who was interned at…

Dan Hodge discusses his edited version of HAMLET, onstage through November 23 at Hedgerow Theatre.

Phindie spoke to Damon Bonetti, a founding member of the Philadelphia Artists’ Collective and director of PAC’s latest offering, Frederico Garcia Lorca’s BLOOD WEDDING.

Interviews with the creative team for Micromanias, a double-bill of original performances coming up this November at Kensington’s Little Berlin.

Playwright Lucas Hnath raises serious legal, ethical, societal, and personal issues in RED SPEEDO, his 2013 play enjoying its Philadelphia premiere at Theatre Exile.

Every staged version of Hamlet is edited. Posterity left us two “authentic” written versions of William Shakespeare’s masterpiece, as well as a poorly transcribed but dramatically more coherent “foul” text….

Henrik Eger talked to the founder of Dance Affiliates about the inner workings of the international dance scene in these more economically strapped times.

The wacky parents of THE ADDAMS FAMILY at the Media Theatre share the joys and difficulties of juggling two lead roles in their lives.

Philadelphia audiences are still buzzing about Dan Hodge’s performance of Shakespeare’s The Rape of Lucrece. Henrik Eger interviews him about the play.

I asked cast members of the Idiopathic Ridiculopathy Consortium (IRC), Philadelphia’s absurdist theatre (since 2006), founded by artistic director Tina Brock, what Ionesco’s RHINOCEROS brought up for them as actors and as people. The range of responses is as astounding as this production. A big thank you to everyone who participated in this Phindie interview.

Tina Brock, writer, actor, founder and producing artistic director of the Idiopathic Ridiculopathy Consortium (IRC) since 2006—Philadelphia’s only absurdist theatre company—holds degrees from the University of Maryland and West Chester University, works as a Standardized Patient Trainer at the National Board of Osteopathic Medical Examiners, and makes the impossible possible, year after year, with some of the most thought provoking and unusual productions.

I asked Tuomanen, who directed the piece, to talk about The Body Lautrec. On extremely short notice, she agreed (“Aaron called me, said someone was upset about Lautrec and you wanted to ask me some questions.”) We talk about filth, exploitation, agency, and other uplifting stuff.

In this special Phindie feature, Chris interviews Doug about safe spaces, role-playing, and the playwriting process.

Every fan of the Philadelphia Fringe Festival has seen Josh McIlvain’s work—even if they haven’t seen his theatrical work. For the past few years Josh has edited the Fringe blog and…

Now in its 18th year, the Philadelphia Fringe Festival has changed a lot since its early days. Once a small weeklong Old City event, with shows and happenings across the…