Henrik Eger talked to the IRC cast about their production of Jean Anouith’s play.
If you’re a fan of TV police procedurals this is the play for you.
Quintessence Theatre’s production of WAITING FOR GODOT just closed. Henrik Eger spoke to the director about his background and his experiences directing Samuel Beckett’s classic.
Frank Ferrante can turn into his boyhood and current idol, Groucho Marx, on a dime.
Perhaps it is Harris’s adept characterization of economic pains and societal pressures which sets light romantic comedy in pleasant relief.
Philadelphia natives Rob McClure and Maggie Lakis are returning home for SOMETHING ROTTEN.
Light, shadows, sound and silences coalesce with acting artistry to create a stirring, sensational air of suspense
Ballets Jazz de Montréal returned to the Prince Theater this weekend to perform three Philadelphia premieres.
Krissy Fraelich’s riveting central performance blends with the perfection of Geoffrey Goldberg’s direction to make this production not only powerful and poignant.
What? Him again? Yes and no.
The IRC prove once again that they are able to pluck strange fruits out of theatrical history and serve them up ably.
NINETEEN MOVEMENTS FOR UNACCOMPANIED CELLO (Scott Ordway): Sounding the Chestnut Hill Skyspace for a world premiere
The premiere of composer Scott Ordway’s Nineteen Movements for Unaccompanied Cello took place in the perfect setting – the James Turrell Skyspace in the Chestnut Hill Friends Meeting.
A comedy little known in its native Britain has become a cult favorite in Germany.
V2: Creation Myth follows up and updated the themes from The Vagina Monologues.
Desi Oakley is donning an apron and baking her way across the country as Jenna in the national tour of WAITRESS
Philadelphia’s premiere drama critic, Toby Zinman knows her theater. Opera, not so much. Here’s her dilettante review of Opera Philadelphia’s WRITTEN ON SKIN.
Annenberg Center presented a program of music and theater, with a Beethoven performance by the Daedalus String Quartet and a staged reading by playwright Michael Hollinger