Stepping back to a Victorian workhouse with Quintessence Theatre Group.
Quintessence Theatre Group explores the Shakespearean death throes of the Roman Republic.
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.
A jubilant mix of beautiful music and songs, dancing, magic, social politics… and elocution
An excellent play well done.
E. Ashley Izard tackles one of the most daunting roles in the American canon.
Quintessence Theatre brings to life a beautifully staged, truly epic production of Bertolt Brecht’s MOTHER COURAGE AND HER CHILDREN, as brilliantly directed by Alexander Burns.
A remarkably original and gloriously entertaining version of the Marlowe play.
You don’t have to be ten years old to thoroughly enjoy this production, you just have to retrace the breadcrumbs and remember how to pretend again.
What could be so funny in a play written nearly 500 years ago? There is something for everyone to either laugh or balk at in this bawdy production of a play by Machiavelli.
In the eyes of director Alexander Burns this doomed romance never stood a chance.
As always with an Alexander Burns production, imagery is rife, props are creative, and jokes come as much from sight gags as from dialogue.
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.
It’s the fourth installment of the Critical Mass review of MACBETH at the Arden, but Julius Ferraro thinks too many works have already been written about an unremarkable piece of theater.
“I was born into Shakespeare, the American Shakespeare”: Alex Burns on directing MACBETH (Arden), part 1
I will never forget the first time I saw Hamlet. My sister and I were out playing on the street in Mount Airy, Philadelphia.
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.