Revisiting Philly theater history through the eyes of one of its finest critics.
Henrik Eger talks to actor Amanda Schoonover about Sarah Kane and her career.
There are many good comedies out there, but not many where the weight of tragedy crests and wanes beneath the laughter.
Thom Nickels asks why the same people always get satirized.
Three married couples in a romp about infidelity who all have years of stage work and accolades to their names.
A great entertainment present for Philly’s Christmas present.
Ho boy, it’s been quite the election cycle. Thankfully, Philadelphia has 1812 Productions to ease the pain with its annual satirical show.
The production keeps audience members of all ages laughing with outrageous and suggestive songs by Jennifer Childs and Christopher Colucci.
Harriet Power sits on a stool at a lightly stocked semi-circle bar in the corner of a spacious music room a block from the Ninth Street Market. She’s watching as…
This year’s installment of the annual politically-incorrect political comedy skewers the presidential candidates and brings some welcome laughs to a troubled week
An uproarious look into the reasons people steal, and why others chase them
The creators/performers of THE LIGHT PRINCESS discuss the development of their adaptation of the 19th-century Scottish fairytale before its workshop production in the Fringe.
Whether you were a fan of The Honeymooners, or have never seen more than a clip on YouTube, this homage to The Great One reminds us of what comedy used to be like.
What makes film different from theater is that film is fixed forever, performances and lines repeating endlessly year after year, while theater has the ability to surprise us. And what makes theater different from life is that theater is scripted and life is random, unexpected, not planned out ahead of time. And what makes Philadelphia’s FringeArts Festival fun is that it delights in performances that confound expectations.
Alan Ayckbourn’s inventive rom-com about failing and budding mid-life relationships in suburban London is that the play (or more accurately, the first volume of the playwright’s original two-volume work that is performed here) offers sixteen plot options and eight different endings. And for the first time in its production history, 1812 shines the spotlight on random members of the audience to decide spontaneously which path the characters should take as they reach a series of crossroads in their lives.