Henrik Eger greets international Fringe artists.
Revisiting Philly theater history through the eyes of one of its finest critics.
There’s no fourth wall here: the audience is complicit in the consideration of POC men who lost their lives to judicial murder
Cameron Kelsall has some ideas for the new executive director.
Using the endtimes as a backdrop, Andrew Bovell uses the drama within a family’s history as a parallel for the turbulence in humanity’s.
Experiences in a master class with maestro Antonio Fava
How Commedia dell’Arte Maestro Antonio Fava influenced my teaching and my life: Interview with Craig Tavani
Maestro Antonio Fava has taught Commedia dell’Arte to quite a few Philadelphia-area actors and directors, including Immaculata University instructor Craig Tavani.
Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.
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.
Moonwalking on the Moon: Lindsay Smiling on Michael Jackson, Philly theater, and the inaugural production by Orbiter 3
This week marks a landmark in independent theater in Philadelphia: the inaugural production by Orbiter 3, a new producing playwrights collective. Over the next three years, the company will produce six…
Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.
Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.
Interview with British actor Zainab Jah, who takes on the role of HAMLET at the Wilma Theater.
Shakespeare vs Stoppard: Exploring the Wilma’s dream pairing of HAMLET and ROSENCRANTZ AND GUILDENSTERN ARE DEAD
Two of the best plays in the English language share most of the same characters and much of the same dialog. The Wilma is doing them in successive productions.