At the opening night performance of LaBute’s IN A DARK DARK HOUSE I had what alcoholics refer to as a moment of clarity: Suddenly an entire oeuvre littered with cruel antihero bastards made sense.
Roy Kaiser’s ‘Director’s Choice program proved to be one of the most artistically rich mixed bills PB has done and during their 50th anniversary season. , It featured the arrestingly intimate pas de deux between retiring dancer Julie Diana and real-life husband Zachary Hench.
RED-EYE TO HAVRE DE GRACE (Lucidity Suitcase Intercontinental): New York Theatre Workshop sees a reshaped Philly Fringe hit
I have taken the train up from Philadelphia to the New York Theatre Workshop to see how RED-EYE to HAVRE de GRACE has fared since I last saw it. I had discovered it in the Philadelphia Live Arts workshop production in 2005. Between that iteration and the world premiere at Philadelphia Fringe Festival in 2012, an evolutionary process took place.
WOODY SEZ (People’s Light & Theatre Company): A Down-Home Musical Revue on the Life of Woody Guthrie
A touring revue on American singer/songwriter Woody Guthrie (1912-67), WOODY SEZ—on the road for seven years and now on stage at People’s Light & Theatre Company in Malvern—is an eminently likeable concert biography for fans of the respected folk musician and activist for the disenfranchised. Featuring 27 of Guthrie’s most famous songs (including his populist American anthem “This Land Is Your Land”) interspersed with snippets of his life story and folk wisdom, the show traces the highlights and low points of his times, [. . .]
The outlandish parody of the horror and sci-fi genres, now in production at Bristol Riverside Theatre, still elicits laughs and gasps from appreciative audiences and delights with a score of period-style rock, Motown, and doo-wop numbers. BRT’s show, directed with spot-on timing by Susan D. Atkinson, embraces all the retro-camp in the story of Seymour Krelborn
I took a seat on one of the long, cushioned benches at the unusual Hedgerow Theatre, a grist mill from the 1800s, for the opening night of SENSE AND SENSIBILITY. Satisfied that at least I was introduced to such a beautiful place, I wondered what Jane Austen was going to smother me with this time.
Midway Avenue is a dance/theatre work that speaks to the sensation of memory as kinetic experience, one in which choreographer/performer Nichole Canuso repeatedly refers to as “map.” The piece leaves…
Romulus Linney’s GINT, now in an engaging staging by EgoPo Productions, does an admirable job of translating this modernist classic for contemporary audiences. Linney reworks the story so it seems to have been lifted straight from the annals of American folklore.
Thespionage Theater Company trumpets itself as a ‘pay what you can’ theater company; every ticket is priced by the audience member, and every dollar made is put into the budget for the next show. It’s an interesting new approach to small-theater funding in an age where the little guys are increasingly struggling against larger marketing machines, dwindling grant money, and thinly spread audiences of theatergoers.
OEDIPUSSY isn’t something to analyze, it’s just something to enjoy— an antidote to life’s heavy stuff. Appealingly physical and comically overwrought, it’s tons of fun. The most amazing thing about this lunatic version is that the epic tragic story actually emerges through all the clowning, sight gags and laughter.
Concluding its 2013-14 themed season “Once upon a Time,” Luna Theater Company’s 80-minute Philadelphia premiere of BRAINPEOPLE, told in real time, is mysterious, disturbing, and challenging; but then director Gregory Scott Campbell was never one to avoid a challenge
Lampooning everything from Hillary Clinton ‘not’ running for President in 2016 to NJ Governor Chris Christie ‘not’ closing the George Washington Bridge, 1812 Productions’ THIS IS THE WEEK THAT IS delivers non-stop laughs in a fast-paced ensemble-devised review of today’s important issues.
Remix Festival, hosted at
Few singers can do what Ann Crumb can do, namely to transform herself in such versatile ways that people follow her wherever she goes, whether she performs on Broadway or in Media. Crumb, a depowered female King Lear, dominated every scene of SUNSET BOULEVARD in her own dream castle.
In September of 1900 Anton Chekhov confessed in a letter to his actress-wife Olga Knipper: “I find it very difficult to write THREE SISTERS, much more difficult than any other of my…
PHILADANCO!, the city’s premiere modern dance company, had a bit of a problem during its final performance of Blood, Sweat and Dance at the Kimmel Center on Saturday night: the ushers had run out of programs and had to hand out black and white photocopies. In the dance world, however, this is a very good problem to have, and in this case, it was a testament to the company’s continued preservation of predominantly African-American traditions in dance.
Black comedy, bitterness, and intimacy intertwine in Sharr White’s ANNAPURNA. Theatre Exile’s top-notch Philadelphia premiere of the gritty two-hander captures the dark humor and devastating hurt of their relationship, as they come to terms with broken love, debilitating loneliness and regret, and imminent death.
Eric Rockwell and Joanne Bogart raise the stakes with their devilishly clever and cheekily smart send-up of prolific songsmiths Sondheim, Jerry Herman, Andrew Lloyd Webber, Richard Rodgers, Oscar Hammerstein II, John Kander, and Fred Ebb, THE MUSICAL OF MUSICALS.
I loved to read when I was a kid
And although I’m full grown I still love what I did.
THE CAT IN THE HAT was one of my faves.
Now that book is a play* and I’m giving it raves!
The Arden’s production is silly and wild.
It’s as good for adults as it is for a child.