combines the complex questions of humanity, (such as ‘Why am I here?’) with the natural improvisation life requires, and expresses it physically alongside a healthy dose of humor.
What a funny, nasty, smart show.
This brilliant Kander and Ebb show is about the decadence of Weimar Germany and the rise of Nazism
This thoughtful production changes how we see the world and ourselves
A play with gorgeous graphics for its marketing just looks like it has its shit together. How does that happen?
Anthony Chan spoke with Phindie about his role as Prince Chulalongkorn.
HE KING AND I is set in a time period of colonies and colonials.
“The American theater is chock full of inward looking plays that fester over small, personal family dramas”
JESUS CHRIST SUPERSTAR (Bristol Riverside Theatre): In a little river town a great but shopworn rock opera is reborn
I went in to the show a doubting Thomas a came out a believer.
“It’s easier to fix than to create,” says director and adapter Matt Tallman of Anthony Hope’s THE PRISONER OF ZENDA running March 30 to April 30 at the historic Hedgerow…
Roundabout Theatre Company’s Tony award-winning production of CABARET will make its Philadelphia premiere at the Academy of Music April 4-9
Walnut Street Theatre’s delectable production of THE IMPORTANCE OF BEING EARNEST finds just the right tone and style.
Philly theater creators experiment with physical theater, but use TV-type language. Julius Ferraro goes down a different path.
Opening Doors, No Matter What: OSLO playwright J.T. Rogers talks about the evolution of a new world classic, developed at PlayPenn (part 1)
Interview with J.T. Rogers on the journey from PlayPenn to Broadway.
IRONBOUND takes place outside of a bus stop in front of a factory in New Jersey.