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Marriages of Figaro: Opera Philadelphia stars are partners on and off stage

Layla Claire and John Chest appear as Mozart’s unhappily married Count and Countess weeks before their own nuptials.

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THE PRISONER OF ZENDA (Hedgerow Theatre): 60-second review

A sense of familiarity permeates THE PRISONER OF ZENDA, Matt Tallman’s adaptation of Anthony Hope’s novel of intrigue, adventure, and mistaken identity

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Stef Smith and SWALLOW: A word with the Scots playwright of Inis Nua’s new production

We checked in with Stef Smith to find out how she approaches her work.

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How should Philadelphia Theatre Company rebrand itself?

Cameron Kelsall has some ideas for the new executive director.

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PARROT TALK (Julius Ferraro): Like a sound wave begging to be heard

PARROT TALK follows a simple narrative arc of a woman dying on her way to the grocery store; however, nothing about her journey is linear.

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G-chatting the Gift of Life: Talking POLLYANNA with Katherine Perry and Sarah Knittel

Phindie met Katherine and Sarah online to get the lowdown on their collaborative project

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BLACK STEAM (Philadanco): A multitude of one

In celebration of it’s 47th year, PHILADANCO/The Philadelphia Dance Company presented BLACK STEAM, featuring two new works and two old ones.

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HEDWIG AND THE ANGRY INCH (Forrest Theater): She’s coming for you

They dusted off the rarely used Forrest Theater for this touring production of Hedwig and the Angry Inch, a twenty-year-old rock musical which was itself recently dusted off for a 2014 Broadway revival.

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Making Connections: WE THE DETECTIVES at the Free Library and Rosenbach

A multipart new exhibition project exploring the detective, criminal, and all the analogs in between

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THE LIGHT PRINCESS (Arden): An elixir of make-believe

The Arden Theatre Company’s world premiere of THE LIGHT PRINCESS mixes up a elixir of make-believe

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Dance in Sketch: Faye Driscoll’s THANK YOU FOR COMING: PLAY (FringeArts)

The narrative of the play dances around anxiety, narcissism, and companionship, and the cards let truth be told.

OSLO on Broadway.

“New York-caliber actors”: How NYC-centrism hurts regional theater

A recent article on Philly.com displays a falls into a reductive yet prevalent view of theater as the province of New York

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#IAMMADEOFSTARS (Almanac): Artistes of the floating world

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.

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POINTS OF LIGHT (Tangle Movements Arts): Feminine, powerful, innovative

Philadelphia’s favorite circus art troupe Tangle Movement Arts was back in Old City’s Neighborhood House on April 7 and 8. Ever-changing and always in search for new ways to broaden…

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Dance in Sketch: Jessica Lang Dance (NextMove)

The program was quick and accumulative, with short pieces creating a common theme.

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ROMANCE (PA Ballet): Fall in love with a provocative and diverse program

ROMANCE showcases the diversity and beauty of the Pennsylvania Ballet’s dancers.

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WHITE: James Ijames on PlayPenn and Playwriting

James talked to Phindie about the genesis of WHITE and its development at PlayPenn, a Philadelphia-based organization for the development of new plays.

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SHADOWLAND (Pilobolus Dance Theater): A dynamic journey

An intricate show with a captivating journey maintained with ease through each scene.

Mattie Hawkinson (as Penthea), Josh Carpenter (as Orgilus), Gregory Isaac (as Bassanes). Photo by Shawn May.

THE BROKEN HEART (Quintessence): Dark matter

Melancholy John Ford was more ‘himself’ and less ‘Shakespearean’ than other less bold Cavalier dramatists.