Blanka Zizka

THERE (Wilma): 2019 Fringe review

THERE is not a place on Earth’s map. It is not a poem recital, nor is it a play.

THERE (Wilma): 2019 Fringe review

Visually arresting and aurally haunting, THERE makes rarefied language solid and visceral

A Welcome to the International Artists at the 2019 Fringe Festival

Henrik Eger greets international Fringe artists.

Philadelphia theater through the eyes of J. Cooper Robb, Part 2: 2004

Revisiting Philly theater history through the eyes of one of its finest critics.

KILL MOVE PARADISE (Wilma Theater): 2018 Fringe review

There’s no fourth wall here: the audience is complicit in the consideration of POC men who lost their lives to judicial murder

PASSAGE (Wilma): Love and death in Country X

The way to get an audience to ask itself profound questions about a work is not by asking the audience profound questions about the work.

Theater in Sketch: PASSAGE (Wilma Theater)

PASSAGE reminds sketch artist Chuck Schultz of a painting at the Philadelphia Museum by Sir Lawrence Alma-Tadema.

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How should Philadelphia Theatre Company rebrand itself?

Cameron Kelsall has some ideas for the new executive director.

ADAPT! (Wilma): On the brink of dawn

Blanka Zizka boldly steps forth as both debut playwright and seasoned director of the semi-autobiographical ADAPT!

WHEN THE RAIN STOPS FALLING (Wilma): How a hard rain’s a gonna fall

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.

Commedia dell’Arte: Highlights from the “Master Class with Antonio Fava”

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.

THE HARD PROBLEM (Wilma): Stoppard makes intelligible intelligence look easy

Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.

What Can The Wilma Do With $10 Million?

A new $10 million in funds includes money for an updated facade, a cafe space, and a 10-member artistic company.

Ben Dibble, winner of "Best Actor" for his role in Herringbone at Flashpoint Theatre.

Picks for Best in Theater, 2014/15, by Philly Reviewer Neal Zoren

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…

ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Wilma): A contemporary classic, in three parts

Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.

HAMLET (Wilma): Blanka Zizka’s daring production amazes while keeping its distance

Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.

Physical, Naked Honesty On Stage: Interview with Zainab Jah, female Hamlet at the Wilma Theater

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.