A cross-temporal interpretation of Shakespeare’s Elizabethan classic injects passages of current expressions and gestures, slapstick, and original music into the well-known pastoral rom-com.
You might be done with the past, but the past ain’t done with you: Matt Pfeiffer on O’Neill’s ANNA CHRISTIE
Matt Pfeiffer discusses the Eugene O’Neill play ahead of PAC’s reading.
Commonwealth Classic Theatre presents a world-premiere production of Paul Parente’s meaningful tragicomedy on the absurdities and horrors of war, inspired by the events and characters from Homer’s Iliad.
Performers past and present share their thoughts and memories on a decade of Shakespeare in Clark Park.
Thomas Heywood’s ridiculous rip-roaring romantic romp across the high seas of the English Renaissance is the latest in the Philadelphia Artists’ Collective’s acclaimed productions of rarely seen classics.
Katherine Fritz sat down with Ian August to chat Shakespeare, history, and what it means to be the guy who says, “I think I’d like to write a sequel to Shakespeare’s Titus Andronicus.”
VOICES is not just provocative; it is full of infectious hope that this time, united, we really will succeed.
Plot-wise, 39 STEPS stays quite true to the original film (often down to the dialogue), with a few other Hitchcock references thrown in for good measure. The difference? This play is the height of camp.
Dunk the master of mystery in a vat of absurdity and you have Alfred Hitchcock’s THE 39 STEPS, a zany adaptation of the 1935 movie. Norristown’s Theatre Horizon is staging…
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.
If William Shakespeare was alive today he’d be a …. well, he’d probably be a poet and playwright, but he’d also make a damn good political speechwriter. The crux of his JULIUS CAESAR, now in an accessible production by Lantern Theater Company, comes in a speech following the title character’s assassination.
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.
Eugene O’Neill’s early maritime heart-wrenchers, Bound East for Cardiff and In the Zone, are brought to life in the Philadelphia Artists’ Collective’s devastatingly effective site-specific production of THE SEA PLAYS….
With a series of celebrated readings and full productions (including 2012 Fringe hit The Creditors) Philadelphia Artists’ Collective has established a reputation as one of the best independent companies in…