In September of 1900 Anton Chekhov confessed in a letter to his actress-wife Olga Knipper: “I find it very difficult to write THREE SISTERS, much more difficult than any other of my…
PHILADANCO!, the city’s premiere modern dance company, had a bit of a problem during its final performance of Blood, Sweat and Dance at the Kimmel Center on Saturday night: the ushers had run out of programs and had to hand out black and white photocopies. In the dance world, however, this is a very good problem to have, and in this case, it was a testament to the company’s continued preservation of predominantly African-American traditions in dance.
Black comedy, bitterness, and intimacy intertwine in Sharr White’s ANNAPURNA. Theatre Exile’s top-notch Philadelphia premiere of the gritty two-hander captures the dark humor and devastating hurt of their relationship, as they come to terms with broken love, debilitating loneliness and regret, and imminent death.
What happens when you combine Philadelphia choreographers with dance makers from across the country, give them less than 10 hours to remix and recreate each other’s works, and ask them to show their creations? We’re about to find out.
The Remix Festival, curated by Annie Wilson and Susan Rethorst, is inspired by Susan’s choreographic technique of wrecking—basically radically taking apart a finished work and reconstituting into a new form—and The Wrecking Project.
Eric Rockwell and Joanne Bogart raise the stakes with their devilishly clever and cheekily smart send-up of prolific songsmiths Sondheim, Jerry Herman, Andrew Lloyd Webber, Richard Rodgers, Oscar Hammerstein II, John Kander, and Fred Ebb, THE MUSICAL OF MUSICALS.
I loved to read when I was a kid
And although I’m full grown I still love what I did.
THE CAT IN THE HAT was one of my faves.
Now that book is a play* and I’m giving it raves!
The Arden’s production is silly and wild.
It’s as good for adults as it is for a child.
There’s something haunting Roelf (Peter DeLaurier) in the Lantern Theater Company’s atmospheric production of Athol Fugard’s THE TRAIN DRIVER. Disturbed by the memory of a young woman and baby “pulverized”…
Phindie looks at tax returns for local theaters to see how much they brought in from what sources. We also look at who the best paid employee was for each “non-profit”.
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We have a few events coming up this week. It’s more about quality over quanitity.. Going to any of these events? Remember to clip along with us @PaperClips215 or with #clips215!
They’ve known each other for what—a couple of hours? Already they’re crazy in love, and they’ll steadfastly love each other against all odds. A love to die for. One of the world’s most celebrated and enduring love stories, ROMEO AND JULIET, is currently on stage at The Philadelphia Shakespeare Theatre.
It’s 1995, siblings Walker (Mark Sherlock) and Nan (Jessica Snow) meet at a run-down Manhattan loft after the death of their star-architect father. Peripatetic Walker has just returned from his latest escapist foreign jaunt and is obsessed by a new find: the journal of his taciturn father. Maybe this will will reveal the inner soul of this silentious man?
Some of life’s biggest journeys begin with that one small voice in our heads, telling us to take an unexpected leap of faith. As a painfully shy young girl channeling bold songstresses of the past through her deceased father’s record collection, Ellie Mooney delightfully shows audiences how to find the power within, as the star of THE RISE AND FALL OF LITTLE VOICE.
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.