Reviews

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ELECTRA (Villanova): Sophocles gets electrified

Review of Sophocles’ Electra at Villanova Theatre

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MOLLY SWEENEY (Irish Heritage Theatre): That the blind may see

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.

Bowman Wright in THE MOUNTAINTOP at People’s Light (Photo credit: Mark Garvin)

THE MOUNTAINTOP (People’s Light): An original vision of Martin Luther King

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.

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TURANDOT (Opera Philadelphia): Puccini at the Academy

Giacomo Puccini (born 1858) left his last opera, TURANDOT, unfinished at his death in 1924.

Photo by Joanna Austin/ AustinArt.org.

HOW WE GOT ON (Azuka): A rapper’s delight straight outta the suburbs

Idris Goodwin’s play displays the same playful humor, poetic intelligence, and human insights as the early hip hop music it salutes.

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RIZZO (PTC): A larger-than-life life onstage

An entertaining work about a compelling character, RIZZO displays pitfalls common to biographical drama.

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DEATH IS A CABARET OL’ CHUM: A GRAVEYARD CABARET (REV Theatre Company): 2016 Fringe review 94

REV Theatre Company let loose a quirky combo of fright-night-meets-kickline-cabaret for this year’s Fringe.

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MARTHA GRAHAM CRACKER CABARET (Martha Graham Cracker): 2016 Fringe review 93

Martha Graham Cracker brought the Fringe Festival to a close last Saturday with a marvelous set of compositions

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PHILADANCO IN CONCERT (Philadanco): 2016 Fringe review 92

This is a seasoned company that dances with maturity and intent.

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CONVERGENCE (DanceSpora): 2016 Fringe review 91

The Trenton-based dance company DanceSpora premiered two works at the Fringe Festival.

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PORTRAIT OF MYSELF AS MY FATHER (nora chipaumire): 2016 Fringe review 90

How do you become a man? A black man? A black African man?

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LE CARGO (Faustin Linyekula) 2016 Fringe review 89

“I am simply here to dance,” says Faustin Linyekula.

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MRS. WARREN’S PROFESSION (Lantern): Thought-provoking amusement

In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.

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Shakespeare Fringe Roundup: Misadventures among the classics

Toby Zinman gives bullet reviews of nine Shakespeare-ish shows in this year’s Fringe.

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KING JOHN (Revolution Shakespeare): 2016 Fringe review 88

You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.

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THE GAS HEART (Once More Theatre): 2016 Fringe review 87

Tristan Tzara called his play THE GAS HEART “the greatest three-act hoax of the century.”

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RHIZOMAS (Ryuzo Fukuhara): 2016 Fringe review 86

Improvisation is an enticing, yet dangerous, approach to performing.

Photo by Bill Hebert

WITH FLINT AND STEEL (duende): 2016 Fringe review 85

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.

Photo: Blue Chemical Photography

FORE-IGN/ FORE-OUT (Carbonell, Chisena, Gavino, McKenzie): 2016 Fringe review 84

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…