Theater

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THREE CHEKHOV SISTERS: From left, Sarah Sanford (as Olga), Mary Tuomanen (as Irina) and Katharine Powell (as Masha) as the 'Three Sisters' in the Arden Theatre Company production of Anton Chekhov's play. (Photo courtesy of Mark Garvin)

THREE SISTERS (Arden Theatre): Does the gimmick stick?

THREE SISTERS is the story not only of its title characters—the sisters Olga (Sarah Sanford), Masha (Katharine Powell) and Irina (Mary Tuomanen)—but also of the various characters who shuffle in and out of their country home over the course of a few years. It’s a soap opera on wheels as nearly everyone falls in love, gets caught up in adultery and waxes philosophical, all while sinking deeper and deeper into the exact sorts of lives they never wanted to lead.

Photo by John Donges

John Donges Photographs THREE DAYS OF RAIN (Quince): A Double Assignment

In shooting Richard Greenberg’s THREE DAYS OF RAIN, my first photographic challenge was to capture the unique structure of the play: the first act is set in 1995 and involves a brother/sister and their old friend – the son of their father’s architecture partner and oldest friend. In Act II, the three actors play the parents of their Act I characters. So it was a dual challenge to photograph basically two casts instead of one, and to try and paint a visual portrait of what is both similar and different between each character and his/her parent, and to portray the look of two very different decades.

Mark Nadler in I'm a Stranger Here Myself (photo courtesy of The Prince Music Theater)

I’M A STRANGER HERE MYSELF (Prince): Intimacy, Song, and Rage in Weimar Germany

I’M A STRANGER HERE MYSELF, created and performed by Mark Nadler and directed by David Schweizer, is both a lament and a celebration of Weimar Germany and the bohemian lifestyle celebrated by the young during this time. Incredibly impoverished, pincered by a swiftly inflating currency, stabbed by the growth of hate and, underneath that hate, a creeping fascism; yet this impossible position also gave rise to an incredibly fertile undergrowth and the arts mecca which Berlin became.

Arlen Hancock in Ellie Brown's DEAR DIARY, BYE. Photo: Ellie Brown.

DEAR DIARY, BYE (Ellie Brown): Schoolyard scraps and crushes galore

And maybe that’s what makes Ellie Brown’s DEAR DIARY, BYE such a fascinating show. The play, directed by Seth Reichgott, presents her 1984 diary. Brown wasn’t so different from any other ten year old – she liked boys, she got sick of her parents, she was teased, and she liked more boys. There’s a pleasure in this kind of uncensored presentation, a la Nature Theater of Oklahoma.

Philadelphia theater calendar

Philadelphia Theater Calendar: April 2014

January | February | March | April | May | June July | August | September | October | November | December Arsenic and Old Lace. By Joseph Kesselring. March 11–April 27, 2014. Walnut Street Theatre, 825 Walnut Street. walnutstreettheatre.org. Don Juan Comes Back from…

Josh McIlvain and Deborah Crocker serve up some fresh hot American Wisdom.

AMERICAN WISDOM (SmokeyScout): Interview with Playwright Josh McIlvain

And now, AMERICAN WISDOM, a mainstage collection of three of Josh’s one-acts, is a handshake between Philly and New York, featuring actors and directors from both sides of the ancient and abiding divide—and performing for one weekend in each city. What’s more, it was launched through an IndieGoGo campaign, representing McIlvain’s collaboration with his audiences.

Keith J. Conallan in DON JUAN COMES HOME FROM IRAQ, Wilma Theatre, photo by Alexander Iziliaev

DON JUAN COMES HOME FROM IRAQ (Wilma): A Disparate Jigsaw

Call it Don Juan or Don Giovanni, the Don Juan story, handed down through time, is pre-loaded with a mix of serious and comic elements and a supernatural dimension. DON JUAN COMES HOME FROM IRAQ, from theater luminaries Paula Vogel (playwright) and Banka Zizka (director), has the gravitas down and doesn’t lose sight of humor, but extra pieces lodge within this puzzle’s slippery treatment of time and reality.

Grace Gonglewski as Masha, Kraig Swartz as Vanya, and Deirdre Madigan as Sonia in Philadelphia Theatre Company’s VANYA AND SONIA AND MASHA AND SPIKE (Photo credit: Mark Garvin)

VANYA AND SONIA AND MASHA AND SPIKE (Philadelphia Theatre Company): Absurdist Farce on Russian Angst

The angst-laden work and gloomy characters of Anton Chekhov provide funny fodder and apropos appellations for Christopher Durang’s VANYA AND SONIA AND MASHA AND SPIKE, now in production at the Philadelphia Theatre Company. The Bucks County playwright set his Tony Award-winning comedy where he lives, making for a decidedly quirky yet familiar combination of current local references and recurrent allusions to the Russian classics in a zany family reunion filled with adult sibling rivalry and childish temper tantrums.

Buckminster Fuller before his geode dome at Montreal's World Fair.

THE LOVE SONG OF R. BUCKMINSTER FULLER (FringeArts): Fringe’s First First Friday

Among the first presentations in this exciting space, THE LOVE SONG OF R. BUCKMINSTER FULLER, shows First Friday, April 4th, at 7 and 9pm. This part theater, part musical, part film is dubbed a “live documentary.” Acclaimed filmmaker Sam Green narrates, accompanied by an original score played by Yo La Tengo. Together they create the movie experience in front of the audience in real time. Nick Stuccio, president and Producing Artistic Director of FringeArts, sat down to chat about this unique offering, as well as the developments with the new space and Fringe Festival.

Alex Bechtel's The West

THE WEST (Alex Bechtel): Billy the Kid Reimagined

Alex Bechtel’s world-premiere production THE WEST is packing the house at the Off-Broad Street Theater in its short six-performance run. The ensemble-devised work, with Bechtel as the lead creator and director, features a cast of twelve emerging Philadelphia theater artists and an absurdist reinvention of the last days of the notorious Western gunman Billy the Kid.

The Lantern joins a rich tradition: James Bond gives a lesson in cultural sensitivity in "You Only Live Twice".

The fault, dear Brutus, Act II: Interview with Makoto Hirano about “Super Racist” Julius Caesar

You may have seen the Lantern Theater Company’s JULIUS CAESAR, which recast Shakespeare’s political tragedy in Feudal Japan. You may also have seen the open letter that local playwright and performer Makoto Hirano hand-delivered to The Lantern on “How to Stage Your Show Without Being Super Racist,” which he signed “Makoto Hirano, Dance-theatre artist, actual Japanese person, and actual Samurai descendent,” reposted on Phindie with Hirano’s consent.

Incubator artist R. Eric Thomas.

NOTES from the INCUBATOR (Simpatico): Entry Two: Getting So Frustrated

My mother tells a story about a time when I was young—3-years-old or 4—and I was trying desperately to get the swing I was seated on moving. My little legs kicked and kicked but I stayed motionless. After a minute or two, an adult came over and gave me a push and that’s all it took. I caught the momentum and I was swinging! As she tells it, I turned to the little boy on the swing next to mine and exclaimed in a giddy, high-pitched voice “I was getting so frustrated! Were you getting frustrated, too, Brooksie? I was getting so frustrated!”

Krista Apple-Hodge portrays Queen Elizabeth I in the PAC’s MARY STUART (Photo credit: Kate Raines, Plate 3 Photography)

The Women of The PAC’s MARY STUART

The Philadelphia Artists’ Collective concludes its 2013-14 season with Friedrich Schiller’s MARY STUART, directed by PAC co-founding artistic director Dan Hodge (whose previous credits include the company’s potent inaugural production of THE DUCHESS OF MALFI in 2010).

Gina Martino (Shelly) and Luke Moyer (Bradley) in Iron Age Theatre’s BURIED CHILD (Photo credit: Randall Wise)

BURIED CHILD (Iron Age): Decay and Dysfunction in America’s Heartland

From the moment you arrive, Iron Age Theatre’s production of Sam Shepard’s BURIED CHILD, directed and designed by John Doyle and Randall Wise, thrusts you into a deeply disturbing world of grime, decay, and depression. Mounds of barren dirt, wood chips, and dried-out stalks surround and invade a tumbledown farmhouse with a rusted old mailbox that hasn’t seen a delivery in years. Inside, a filthy stained sofa with torn-up upholstery and torn-out stuffing is held together by black duct tape, as huge gaps between the rough-hewn wall slats let in the pouring rain and dreary darkness of a relentless storm.

Benjamin Lloyd (on floor), Bruce Graham, David Edwards, Carl Wallnau, and George Deihl (back) in Bristol Riverside Theatre’s LAUGHTER ON THE 23rd FLOOR (Photo Credit: BRT Staff)

LAUGHTER ON THE 23rd FLOOR (Bristol Riverside Theater): The Humor and Hysteria of 1953

Neil Simon’s autobiographical comedy, LAUGHTER ON THE 23rd FLOOR, offers an intimate, insightful, and uproarious glimpse into his experiences as a junior writer for Your Show of Show—the influential TV program that ran on NBC from 1950-54, and was the first to incorporate sitcom sketches into the traditional variety-show format.

Walnut Street Theatre, Arsenic and Old Lace, Damon Bonetti and Jennie Eisenhower

ARSENIC AND OLD LACE (Walnut Street Theatre): Macabre Madcap Comedy Classic

The historic Walnut Street Theatre celebrates two milestones with its mainstage presentation of ARSENIC AND OLD LACE, written by New York playwright Joseph Kesselring in 1939: the play’s 75th anniversary and its own 205th landmark season. Directed by Charles Abbott, the Walnut Street’s crackerjack production (in association with Fulton Theatre in Lancaster, PA) whips up the perfect concoction of murder, mayhem, and misplaced “mercy,” topped with a large dollop of macabre madness, in this delectable recipe for hilarity.

Note to Self, Figment Theater.

NOTE TO SELF (Figment Theater): Improv at Its Finest, with a Twist.

Upon entry into the theater space, I was directed to a setup off to the side with slips of paper and pens. Little placards told us to write a NOTE TO SELF and drop it in the metal can, examples offered including “get donuts for the office.” I had received the inside scoop from one of the other theatergoers that they’ll be used as a formative part of the show. As NOTE TO SELF is improv comedy, I didn’t want mine to be too mundane to work with so I chose a simple, sadly relevant, yet ripe for humor note: stop eating in bed. The conversation and jokes with strangers, all ruminating on what their contribution would be, set a fun, friendly and upbeat tone for the performance.

Alex Bechtel The West

THE WEST Comes to Town: Interview with Creator Alex Bechtel

THE WEST is ensemble-devised musical theater, described as “an absurdist western music hall drama about the gun that killed Billy The Kid, the gun that didn’t, and truth and fiction in history, human relationships, and our day-to-day lives.”

Lena Barnard and Meredith Sonnen rehearse Behind Bergman

NOTES from the INCUBATOR (SIMPATICO): Entry One: The Collective Spirit

Writing this play has been hard. It feels like squinting into the distance at an object that I think I should be identifiable but is just too blurry. Luckily, I have a cohort on this trek. If you met Lena (Barnard) and I, it would feel a lot like an episode of Gilmore Girls or the West Wing. We talk over each other and make obscure references and laugh at inside jokes that no one else gets. Being around Lena makes me feel entirely secure. I can be myself with her. I like to think the feeling is mutual. Who else will get all her Julie Andrews references?

Rosario Toledo performs Vengo as part of the Philadelphia Flamenco Festival.

Passion and Art in the Philadelphia Flamenco Festival

What better way to welcome the coming spring than with flamenco? Flamenco, which means “flame-colored,” is a genre of Spanish folk dance and music traditionally characterized by sensual choreography and bold, complex guitar rhythms. In Philadelphia, dance company Pasión y Arte is bringing the spirit of modern flamenco to the Philadelphia Flamenco Festival, which runs from March 1st through March 16th.