Turn off your phones, step away from your laptops, and run, don’t walk to the Irish Heritage Theatre’s first ever Barrymore-eligible production.
Katori Hall’s creative re-imagining of Martin Luther King’s final night before his assassination in 1968 is delivered through forceful performances and an evocative design.
Giacomo Puccini (born 1858) left his last opera, TURANDOT, unfinished at his death in 1924.
Idris Goodwin’s play displays the same playful humor, poetic intelligence, and human insights as the early hip hop music it salutes.
An operatic version of a Lars von Trier movie? Yes.
REV Theatre Company let loose a quirky combo of fright-night-meets-kickline-cabaret for this year’s Fringe.
Martha Graham Cracker brought the Fringe Festival to a close last Saturday with a marvelous set of compositions
This is a seasoned company that dances with maturity and intent.
How do you become a man? A black man? A black African man?
“I am simply here to dance,” says Faustin Linyekula.
In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.
Toby Zinman gives bullet reviews of nine Shakespeare-ish shows in this year’s Fringe.
You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.
Tristan Tzara called his play THE GAS HEART “the greatest three-act hoax of the century.”
WITH FLINT AND STEEL, this year’s Fringe offering by experimental music and dance group duende, consists of seven separate pieces, each by a different choreographer.
Excerpted by kind permission from thINKingDANCE. In FORE-IGN/ FORE-OUT, four choreographers explore states of liminality—of how to be between things. In Matriz, Evalina Carbonell uses a stage-spanning black banner and fluid…