IN THE MOOD is more than a music revue—it’s a concert, a musical, a history lesson, a show of patriotism, and a celebration of one of the most important times in American history. The 1940’s was a time of significant change. In music, the whole nation was listening to the same big bands. Swing music, romantic ballads, and dancing shaped an entire cultural movement and most importantly became a prevailing icon of hope as we faced the reality of World War II. Proudly, the show takes a segment to recognize and honor the veterans in attendance. In its 20th year of touring, IN THE MOOD is an international success.
Marcel Williams Foster turns social media and performance upside down, and spontaneous performance, situational intimacy, and social media are the tools you have to curate your own audience/performer experience.
Using theses and other techniques to activate the audience, theatermaker/scientist Marcel Williams Foster takes us on a self-referential tweeting goose chase. How ‘meta.’
I once heard then-governor Ed Rendell give some cheesesteak advice: for the real deal don’t go to one of the big name line-around-the-block places, go to a food truck or your local deli and get one made-to-order. I was thinking about this truism and our prevailing infatuation with authenticity as I watched A. Zell Williams’s world premiere production of DOWN PAST PASSYUNK at InterAct Theatre.
There are plenty of things to thrill over in Quintessence Theatre Group’s stirring, and impressively-performed, MOURNING BECOMES ELECTRA. Director Alex Burns and his well-picked ensemble continue to impress.
A typical concert dance performance does not usually conjure up thoughts of social justice and governmental reform. At first glance, dance and politics might not seem to go together. That is not to say that the art form is entirely apolitical – different genres of art can certainly serve as a persuasive medium for declaring political statements. From a historical perspective, analysis of the arts can be used to study social change and political reform, and dance is no exception to this.
Philadelphia Artist Collective’s tightly-corseted production of Frederich Schiller’s Mary Stuart, starring the earth-shattering Charlotte Northeast and the finely-tuned Krista Apple Hodge will leave you white-knuckle-gripping the edge of your seat. Sitting in a severe theater-in-the-round circle, the audience itself forms four oppressive walls seemingly trapping the actors on the Broad Street Ministry’s cherry wood floor. If Schiller were alive today, he would raise a thumb in approval of director Dan Hodge’s minimalist approach.
The famous five-letter-word and its off-beat aficionados Bingo is a game that has its own fascinating culture with quirky characters for devotees (the stereotype being elderly women who smoke), but…
Is a play told solely through the extant letters of its real-life characters really a play? Sarah Ruhl’s DEAR ELIZABETH, which traces the friendship between Elizabeth Bishop and Robert Lowell through their thirty years of correspondence (1947-77), seems more of a pedantic academic exercise in hero worship by a playwright who began her writing career as a poet and an admirer of Bishop’s oeuvre.
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.
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.
Here are PaperClips’ Top Picks for what not to miss this First Friday, April 4th! There is a lot happening on Friday and beyond, so make sure to check out their Events Calendar for a complete listing of events throughout the month. If you are out exploring the arts in Philadelphia, use #clips215 to share, tweet, and gram along with the PaperClips team!
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.
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.
Multimedia theater designer Jorge Cousineau is moving abstract objects under the rustic dance studio in the Maas Building in Northern Liberties. Niki Cousineau is rehearsing with her Subcircle dancers for new piece All…
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…
Since moving to Philadelphia in 2009 (from New York, where she began her career), and joining the Philadelphia theater community as a freelance director, producer, and educator in the fall…
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.
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.
We could be at a yoga studio, or a modern dance class, or even just Whole Foods (which might explain why everyone is so good looking and in such great shape) but the tableau onstage at Drexel’s Mandell Theater is the latest creation of choreographer Kun-Yang Lin. Be/longing: Light/Shadow is a world premiere based on a summer of research in Indonesia.
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.