AMERICAN FAIRY TALES is a kids’ show, adapted by co-artistic director Stan Heleva from L. Frank Baum’s short stories with a generous amount of modernization and localization. This is fast and messy theater making, thriving on audience involvement. The story doesn’t matter as much as the laughs, and the more we shouted along, and the more sassy little Benjamin in the front row jeered and challenged the actors, the more engaged they, and we, became.
Overbearing relatives, forced merriness, the same damn songs playing over and over and then over again—Christmas can be a real pain in the toches. Depicting the next year of her life, Lakis plays (almost) all the characters in this 90 minute show, without a single break.
In The Bite in the Apple: A Memoir of My Life With Steve Jobs, Chrisann Brennan—Steve Jobs’s first girlfriend—wrote “Steve often said that he had a strong sense of having had…
Dylan Thomas’s poem A CHILD’S CHRISTMAS IN WALES runs the risk of becoming sticky-sweet with nostalgia, and it is director Sebastienne Mundheim’s idiosyncratic vision, and the spot-on instincts of her actors, which…
GENDER COMEDY: A LESS STUPID TWELFTH NIGHT GAY FANTASIA (Curio): A loving parody brings infectious glee
Harry Slack has cut the gaping holes in Shakespeare’s logic into microscope slides, and the result is a hilarious and self-aware send-up of the rarely-discussed flaws in the work of our most beloved playwright.
Vaudeville has returned in all its glory with 1812’s THE BIG TIME: NEW VAUDEVILLE FOR THE HOLIDAYS. Pratfalls, double entendres, and caricatures of people past and present light up the…
Lantern Theater Company’s world premiere adaptation of A CHILD’S CHRISTMAS IN WALES by Charles McMahon and Sebastienne Mundheim, the inventive “interdisciplinary performance-maker” who designed the production and also directs, captures all the warmth, nostalgia, and childlike wonder of the original, employing live actors, puppets, miniature houses, plastic-bag clouds, and exhilarating snow flurries to transform Thomas’s descriptive language and idealized memories into an enchanting theatrical vision.
TWELFTH NIGHT being the 1602 equivalent of a holiday special, there’s no shortage of booze-riddled merriment in Pig Iron’s revival from the 2011 Fringe Festival.
New City Stage Company’s Philadelphia premiere of FROST/NIXON is anything but the dry historical debate you might expect. Under Aaron Cromie’s brilliant direction, playwright Peter Morgan’s story of the series of TV interviews conducted by faltering British talk-show host David Frost in 1977 with disgraced US President Richard Nixon is a painfully tense and surprisingly humorous cat-and-mouse game.
David Patrick Stearns writes yet another petulant review, this time of Pig Iron’s TWELFTH NIGHT. If he whines enough that he isn’t entertained at theater and doesn’t get it, will…
OWNERS, a dark comedy by British playwright Caryl Churchill, is an examination of the sexual politics of power and property. It’s a fun, dark world, where everything and everyone is just an acquisition waiting to happen; apartments are traded for babies, which are traded for sex, which is used as leverage for more negotiations and scheming.
MEET ME IN SAINT LOUIS: A LIVE RADIO PLAY is based on The Kensington Stories by Sally Benson and the MGM motion picture Meet Me in Saint Louis; the musical book written by Hugh Wheeler was expertly adapted to the unique radio play style by Joe Landry. Simply, this show is fun.
In celebration of its tenth anniversary season of wintertime pantos People’s Light & Theatre Company in Malvern is presenting a remount of CINDERELLA, its most acclaimed panto to date.
The latest installment of SNOWBALL, the annual wintertime extravaganza by Brian Sanders’ JUNK, is a must-see world-premiere holiday delight for the whole family. Combining a post-modern urban narrative with a charming “Winter Wonderland Furrytail,” the engaging two-act show will keep you smiling, gasping, oohing and aahing at its heartwarming moral, Sanders’ stunning choreography, and his acclaimed dance troupe’s extraordinary finesse.
This is in Kensington, on the closing night of Mascher Space Cooperative’s Microfestival of Stubborn Occasions: a set of performances described as “a space where choreography is given permission to exist in the in-betweens.” Two shows are on the docket for tonight, Foster’s #JANEGOODALLDRAMA and Christina Gesualdi’s MY NEBULOUS SOLO.
Okay, Kevin Allison’s RISK! is the undisputed G-spot of the 12th annual First Person Arts Festival. The format is simple: five people step behind a microphone and relate their most private thoughts in the form of a story to an audience of strangers.
In the Middle Ages, the Church endorsed theatrical depictions of Church teachings to educate a mostly illiterate public. EVERYMAN is only one of five from its time that has survived to today. Villanova Theatr commissioned Mark J. Costello to translate the play from Middle English using modern language and the authenticity of rebelliousness in the punk subculture
“Let’s assume you’re traveling,” says Thaddesus Phillips, placing the audience as the sojourner. And he whisks us off. With co-creators Tatiana Mallarino and Patrick Nealy, and director Rebecca Wright, Phillips has concocted something special with 17 BORDER CROSSINGS.