Image courtesy of GPSBodies

#GPSBODIES (Marcel Williams Foster): Tweet the Rainbow

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.’

Alex Keiper and William Zielinski in DOWN PAST PASSYUNK. Photo by Kathryn Raines.

DOWN PAST PASSYUNK (InterAct): Theater ‘wit’ a taste of South Philly

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.

Photo by Shawn May

MOURNING BECOMES ELECTRA (Quintessence): America’s Ghosts Return to Haunt

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.

Photo courtesy of National Water Dance

The National Water Dance

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.

Krista Apple-Hodge as Queen Elizabeth I. (Photo credit: Plate3Photography)

MARY STUART (PAC): The Prison of Power

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.

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If You’re In…. Long Island: BINGO! THE WINNING MUSICAL

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…

Photo by Mark Garvin

DEAR ELIZABETH (People’s Light & Theatre Company): Kindred Spirits in Poetry and Depression

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 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.

PaperClips215's top picks for First Friday

First Friday April • Top Picks from PaperClips

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!

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.

photo by Jessica Giacobbe

ALL THIS HAPPENED, MORE OF LESS (Subcircle): Scenes from a dance marriage

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…

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…

Directors Gallery Salon 1: Designing the Future

Directing the Future: An Interview with DG Founder Jill Harrison

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…

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.

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BE/LONGING I: LIGHT/SHADOW (Kun-Yang Lin/Dancers): A review of the world premiere

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.

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.