Reviews

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Right Hand Woman: An interview with Emily Zeck, PTC’s managing director

Emily Zeck brings a wealth of experience to her new role as Philadelphia Theatre Company’s managing director.

Esplanade sketch by Chuck Schultz.

PAUL TAYLOR DANCE COMPANY (NextMove Dance): Finding new by experiencing antecedent

Paul Taylor is one of the most important figures in the history of modern dance. Sketches by Chuck Schultz.

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THE GAP (Azuka): Self-discovery onstage

By revealing the plot through meta layers, Goidel reinforces the idea that we’re watching self-discovery through art.

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Daniel Barland in BROKEN STONES at InterAct Theatre. Photo by Kathryn Raines

BROKEN STONES (InterAct): Searching through the meta rubble

What better theatrical vehicle for cynicism than “meta”: how many ways can the playwright fool an audience?

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BLOOD WEDDING (Wilma): Movement in the veins

Lorca’s BLOOD WEDDING makes a fitting vehicle for the Wilma Theater in-house troupe.

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BORG MCENROE (dir. Janus Metz): Philadelphia Film Festival review

Fitting that the festival which began with I, Tonya should end, at least for me, on a similar note with Borg McEnroe. While not as heightened for the purpose of…

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IT’S A WONDERFUL LIFE: A LIVE RADIO PLAY (Walnut): A bell rings

If you’re in the mood for a misty-eyed, life-affirming moment, It’s a Wonderful Life is the show for you.

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BAD DAY FOR THE CUT (dir. Chris Baugh): Philadelphia Film Festival review

The right amount of craftsmanship can elevate even the lowest budget film into something special,

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THE SQUARE (dir. Ruben Östlund): Philadelphia Film Festival review

The Square uses awkward humor to explore the ridiculousness of ‘high class’ expression.

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TOUCHTONES (Arden): This must be a bad connection

Naughty and nice collide in TOUCHTONES, a musical fantasy in world premiere at the Arden.

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THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (dir. Martin McDonagh): Philadelphia Film Festival review

“Raped while dying,” the first billboard reads. The next, “And still no arrests,” and finally, “How come, Chief Willoughby?”

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DRACULA: A GOTHIC MYSTERY (Mechanical Theater): Magnificently mesmerizing at Laurel Hill Cemetery

The Mechanical Theater has succeeded in reviving Bram Stoker’s Dracula.

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IN THE FADE (dir. Fatih Akin): Philadelphia Film Festival review

In the Fade is less concerned with the catharsis of vengeance than it is the ethical questions that revenge naturally raises.

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THELMA (dir. Joachim Trier): Philadelphia Film Festival review

Easily one of my favorites of the fest so far, Thelma is one of those rare movies that is so rich, so stylish, and so thematically dense that it merits…

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THE ENDLESS (dir. Justin Benson & Aaron Moorhead): Philadelphia Film Festival review

Among genre fans, Justin Benson and Aaron Moorhead have become synonymous with a “microbudget sci-fi drama.” Each of their films uses a Twilight Zone-esque concept to put characters through the subversions of typical…

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SPOOR (dir. Agnieszka Holland & Kasia Adamik): Philadelphia Film Festival review

Spoor has all the makings of a great movie, but fails to pull them together in a satisfying way.

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UNDER THE TREE (dir. Hafsteinn Gunnar Sigurosson): Philadelphia Film Festival review

Although it’s not a terrible film, this is the first of the fest that I’d call a disappointment. Maybe I was tired, maybe I internally overhyped it … but maybe…

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DARKEST HOUR (dir. Joe Wright): Philadelphia Film Festival review

We’re not reinventing the wheel here, but it’s a well-made wheel, and it rolls forward just fine.

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WONDERSTRUCK (dir. Todd Haynes): Philadelphia Film Festival review

It’s pure delight for a film nerd to bask in Haynes’ seamless blend of homage,