The simple tricks of the stage awe an audience of CGI-era children, showing that even something as normal as friendship can be magic.
Working with the First National Congress in 1776: Interview with director-choreographer Jennie Eisenhower, part 2
In this, the second of a two-part interview, we talk to Eisenhower about the history behind 1776: The Musical
1776 will make you laugh, might even make you cry, and will most certainly be more enjoyable than the lectures of your middle school history teachers.
A rocking, irreverent look at the birth of our nation wrought with lively, believable characters.
The story is a little dated, but that is part of its charm, like watching a Norman Rockwell painting come to life.
A curiously performed version of Arthur Kopit’s unnecessary rearranging and cheapening of The Philadelphia Story.
Each year, Philadelphia-based reviewer Neal Zoren announces his choices for the Helen and Morris Zoren Awards for World Theater. A fair number of the picks on Neal’s list are performers and productions from the Philadelphia area.
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.
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.
Alexander Burns’ production of MACBETH at Arden Theatre Company is energetic and visually engaging, but it lacks ferocity and substance.
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.
It may be daunting for theaters to produce the original theatrical source for a well-regarded movie, but Lantern Theater Company’s DOUBT shows why some plays are worth reclaiming for the stage.
Each January, local critic Neil Zoren announces his favorite production, direction, and male and female actor and male and female supporting actor for the previous calendar year.
Sharp performances keep 9 TO 5 so consistently entertaining it masks a contrived plot and mediocre music and lyrics.
HERRINGBONE (Flashpoint Theatre Company): A remarkably strange solo musical, about a boy … with a problem
This mighty peculiar story opens with a grown up George looking back at 1929 and singing, “Did ya ever have one of those years?” His parents have one foot in the poorhouse, as their only prosperous relative has just stinted them in his will. When eight-year-old George has the chance to take performance lessons from the surviving member of an old vaudeville act, he shows inexplicable ability beyond his years. Parental hopes for financial resurrection ride on little George singing and dancing his way to Hollywood.
The historic Walnut Street Theatre celebrates two milestones with its mainstage presentation of ARSENIC AND OLD LACE, written by New York playwright Joseph Kesselring in 1939: the play’s 75th anniversary and its own 205th landmark season. Directed by Charles Abbott, the Walnut Street’s crackerjack production (in association with Fulton Theatre in Lancaster, PA) whips up the perfect concoction of murder, mayhem, and misplaced “mercy,” topped with a large dollop of macabre madness, in this delectable recipe for hilarity.
Set in Georgia between 1913 and 1915, PARADE examines the true story of Leo Frank, a transplanted Brooklyn-bred Jew accused of killing a thirteen-year-old girl in the Atlanta pencil factory…