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.
While Shakespeare’s Restless World: A Portrait of an Era in Twenty Objects is not, and does not claim to be, a complete narrative history of the times or a full-blown dramaturgical analysis of the Bard’s oeuvre, it does offer a fascinating collection of twenty chapter-length essays, using the objects as a springboard to explore key issues of the day and in Shakespeare’s work.
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.
Based on the 2003 hit film of the same name, ELF, this year’s annual Christmas-time extravaganza at the Walnut Street Theatre, offers popular feel-good entertainment for the whole family. The amusing musical comedy is filled with magic and spectacle for the kids, wry jokes and innuendo for their grown-ups, and a familiar sentimental moral that is relevant for all ages. It’s a cute and snappy start to the holiday theater season that could make even the meanest Grinch smile.
This hybrid of monologue and musical chronicles the life of Bessie Smith. Although Smith experienced troubled times in her life, THE DEVIL’S MUSIC is mostly upbeat—chock full of raunchy innuendo and humorously sexual dance moves. This makes for a perfectly lovely evening of theater…
Lunging onto the stage with the gusto of 1000 aerobics classes, HANDS ACROSS VERONICA sets the tone for a high energy, neon fueled performance. A joint production of Walking Fish Theatre and Nakedfeet Productions, HANDS ACROSS VERONICA is primarily concerned with how women relate to food and deal with their body image,
Though EM Lewis’s 80-minute thriller TRUE STORY pays homage to Raymond Chandler’s detective-story and film-noir tradition of the 1930s and ‘40s, the play offers a more current (cell-phone era) exploration of the genre. It combining the twists and turns of a gripping murder mystery with the profound human issues of coping with loss, assuming responsibility, the nature of truth, and the desire for justice. Passage Theatre Company’s world-premiere production, directed with wit and suspense by Damon Bonetti, succeeds in delivering all the surprises, humor, emotion, and psychology inherent in the script.
Ten seconds into Murmuration’s inaugural production of Jessie Bear’s brand spankin’ new play, MAKESHIFT, Brian David Ratcliff, stands like a little boy by his lonesome on stage in what he describes as a devastated post-apocalyptic earth donning a royal blue super hero cape, goggles strapped to his head, holding a tape recorder up to his mouth declaring: “I, Michael Bolton will save the world.” I thought: “Wow, we are really on the edge of a cliff here, and Oops, I think we fell off into—I don’t know what.”
Reading history is like watching a familiar play: the fascinating thing is that the characters don’t know what’s going to happen. But sometimes you come across a work of fiction written on the cusp of great historical events imbued with a clear sighted vision of how the epoch is unfolding. Adapted by Frank Dunlop from a 1938 novella by Kathrine Kressman Taylor, ADDRESS UNKNOWN is one such work.
In Berlin in the wake of German reunification, American John Marks writes to his friend “Doug Wright” (I AM MY OWN WIFE’s playwright) about the eccentric Charlotte. Having “grown up gay in the Bible Belt”, Wright is fascinated by the transgender Berliner and spends grant money and savings to pay her a series of visits, hoping to turn his interviews into a play.
As related in act one of this short two-act piece, Charlotte’s tale fascinates Wright (and the Theatre Horizon audience).
THE WOMAN IN BLACK: A GHOST PLAY is a cleverly constructed stage production by Stephen Mallatratt based on a novel by Susan Hill. It is a story within a story with Arthur Kipps (Dan Kern) seeking the assistance of an actor (Jered McLenigan) to tell his terrifying and sorrowful tale he’s compiled into a five hour manuscript. The actor encourages Kipps to tell the story through acting; the actor playing the role of Kipps and Kipps playing the roles of the people he encountered during his experiences.
Strange games are afoot upstairs at Plays and Players. Not light or fun games, either—we’re talking full-on Don’t-talk-about-our-son-Martha! games here. Murmuration Theater’s new play MAKESHIFT throws us right into the middle of two different stories, and figures we’re smart enough to figure out what’s going on. The show doesn’t dole out much information, and when it does, it’s timed for maximum effect. Once you get enough to realize the show’s central conceit (which is quite nice, and unfolds so organically that I’d hate to spoil it), the earlier scenes come into better focus and make more sense.
Director Ginger Dayle and sound and video designer Ren Manley intersperse audio and visuals from the 1960s in New City Stage Company’s RFK, complementing Widdall’s powerful performance with a great soundtrack and contextualizing video clips. Following pre-show newsreels from JFK’s assassination, the play begins in 1964—eight months after the fateful day in Dallas.
The immaculate Martha’s Vineyard home of the African American LeVay family is the set for Lydia R. Diamond’s STICK FLY at Arden Theatre Company. Plush sofas and pristine white cabinetry are the trappings around which the evening’s drama unfolds. The audience has a window into the kitchen, living room and porch where at times multiples scenes take place at complementary intervals; sometimes echoing their counterparts in the next room. The characters in the play are a complex set, all with different but overlapping backgrounds—some more than they realize.