In adapting THE BLUEST EYE, Lydia R. Diamond trusts Toni Morrison.
Mel Brooks’s THE PRODUCERS has gone from Screen Comedy to Musical Comedy to Screen Musical Comedy and back to the stage again.
Kash Goins talks to Phindie about the new production of his acclaimed prison drama and the Arden’s coming season.
TWO-MAN, ONE-MAN is a three-man show—about two one-man shows—being performed as a two-man show.
David Bradley’s production of this classic is a sterling example of a strong scripts coupled with a great ensemble.
Catherine Trieschmann’s THE MOST DESERVING is an all out cuckoo cultural clash, insanely hilarious as performed at Allens Lane
Danton, Marat, Robespierre, and their ilk have mostly been forgotten, while the guillotined Marie retains fame.
No published or produced play has been the source for a Best Adapted Screenplay award since 1989.
Henrik Eger talked to the IRC cast about their production of Jean Anouith’s play.
If you’re a fan of TV police procedurals this is the play for you.
Quintessence Theatre’s production of WAITING FOR GODOT just closed. Henrik Eger spoke to the director about his background and his experiences directing Samuel Beckett’s classic.
Frank Ferrante can turn into his boyhood and current idol, Groucho Marx, on a dime.
Perhaps it is Harris’s adept characterization of economic pains and societal pressures which sets light romantic comedy in pleasant relief.
Philadelphia natives Rob McClure and Maggie Lakis are returning home for SOMETHING ROTTEN.
Light, shadows, sound and silences coalesce with acting artistry to create a stirring, sensational air of suspense
Krissy Fraelich’s riveting central performance blends with the perfection of Geoffrey Goldberg’s direction to make this production not only powerful and poignant.