Aimé Donna Kelly

EXIT STRATEGY (PTC): Saving the bell

We get to experience the empty pathos around a building demolition in which the faculty come together ostensibly to mourn their old school but instead wind up mourning the people they once were.

EXIT STRATEGY (PTC): All due respect

Holter’s play calls out and subverts the “inspirational white teacher” motif in popular culture because EXIT STRATEGY avoids the Hollywoodization of the decay of America’s public school system.

THIS IS THE WEEK THAT IS (1812): The tenth anniversary of an annual favorite

This year’s installment of the annual politically-incorrect political comedy skewers the presidential candidates and brings some welcome laughs to a troubled week

DISGRACED (PTC): Talking politics, religion, and culture

Ayad Akhtar’s Pulitzer-winning play is a conversational piece with a high-paced ending and plenty of thought-provoking ideas.

MOON MAN WALK (Orbiter 3): Interstellar overdrive

James Ijames’s MOON MAN WALK, the first offering by new playwrights’ collective Orbiter 3 presents a fantasy world and a very real story. And a manic pixie girl.

Ian Merrill Peakes as Macbeth with Ben Dibble as Banquo. Photo by Mark Garvin.

MACBETH (Arden): Rare emotion and rarer straightforwardness [critical mass review #5]

The elements which displease other writers are what makes this production a success, according to Michael Fisher in review five of the ongoing Critical Mass series.

MACBETH (Arden): Numb from the neck down, well almost [critical mass review #3]

Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.

MACBETH (Arden): Fast but not furious [critical mass review #2]

Alexander Burns’ production of MACBETH at Arden Theatre Company is energetic and visually engaging, but it lacks ferocity and substance.

MACBETH (Arden): Bloody bold and resolute [critical mass review #1]

Burns maintains the energy and pacing of his best work for Quintessence and takes full advantage of the Arden’s high production values to create an exuberant and understandable version of Shakespeare’s masterpiece.

imé Donna Kelly and Lynnette R. Freeman in THE DANGEROUS HOUSE OF PRETTY MBANE.

THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): Western sympathies come up against African cruelties

Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.

THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): 60-second review

A thrilling, thought-provoking, wonderfully heart-wrenching play now receiving its world premiere by InterAct Theatre Company.

Jen silverman. Photo by Marilu Snyders.

Pretty Mbane and “Corrective Rape”: Traveling around the world with playwright Jen Silverman

Henrik Eger interviews Jen Silverman about her world premiere play THE DANGEROUS HOUSE OF PRETTY MBANE! and the issues it raises.

THIS IS THE WEEK THAT IS (1812): 60-second review

With references to Throwback Thursday, Snapchat, and that annoying five-second wait to skip a YouTube video, the show focuses our attention on the funny intricacies that make up our times.

The firstlings of their heart: MACBETH marks Revolution Shakespeare’s first full production

This fall sees Revolution Shakespeare’s first full production: a New Orleans-inspired MACBETH, from October 1-12.

The ensemble (Dave Jadico, Alex Bechtel, Aimé Donna Kelly, Scott Greer, and Jennifer Childs) plays “The Spinners” in 1812 Productions’ THIS IS THE WEEK THAT IS (Photo credit: Mark Garvin)

THIS IS THE WEEK THAT IS (1812 Productions): Now a Musical and Better than Ever!

Lampooning everything from Hillary Clinton ‘not’ running for President in 2016 to NJ Governor Chris Christie ‘not’ closing the George Washington Bridge, 1812 Productions’ THIS IS THE WEEK THAT IS delivers non-stop laughs in a fast-paced ensemble-devised review of today’s important issues.

Kevin Meehan.Photo credit: Kathryn Raines

WE ARE PROUD TO PRESENT (InterAct): Are You Black Enough?

Drury’s funny, traumatic, inventive and timely play will stab at you, personally, at least once. She asks whether it is important that a story be told, or if it is more important that it be told in a certain way. She uses the events in Namibia to illustrate the cracks in our own culture, the divides caused by racial issues even among a group of people who would probably all vote for the same candidate..