Brian McCann

GEM OF THE OCEAN (Arden): A thing of beauty

GEM OF THE OCEAN is about a lot of things, including race, mysticism, and murder.

Theater in Sketch: MARIA MARTEN, or The Murder in the Red Barn (PAC)

Maria Marten or The Murder in the Red Barn by the Philadelphia Artist Collective found the silly in the serious

THE CRAFTSMAN (Lantern): Crafting a good story

Now in its world premiere from Lantern Theater, the latest play by Philly’s favorite playwright Bruce Graham is based on a true story. It’s a great story.

Fringe in Sketch: I, PEASEBLOSSUM (Curio Theatre)

I, PEASEBLOSSOM was a great character study for me. I wanted to keep capturing the many sides of Brian McCann.

I, PEASEBLOSSOM (Curio): 2017 Fringe review

I, PEASEBLOSSOM is a lark, even compared to its light-hearted inspiration, A Midsummer Night’s Dream.

THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS & COUNT LEO TOLSTOY: DISCORD (Lantern Theater Company): Locked in limbo with literati

The Lantern team transforms an essentially all-talk playscript into an engaging, living piece of theater.

THE WHITE DEVIL (PAC): A bloody good thriller

PAC gives the Jacobin the veneer of a mid-20th century hard-boiler. Sketches by Chuck Schultz.

Lantern Theater Company Coriolanus

CORIOLANUS (Lantern): Succeeding with a Shakespeare many companies wouldn’t attempt

With a strong cast and design wizards the Lantern has made CORIOLANUS a visceral, lively and thought-provoking experience

WAITING FOR GODOT (Curio): Highlighting the hilarity of Beckett’s classic

Curio’s designers have created a bubble of no time, no place, in which anything or nothing can happen.

ALL’S WELL THAT ENDS WELL (PAC): A mingled web well woven

PAC’s current production confirms its reputation as the best adaptor of classic works.

Theater in Sketch: ALL’S WELL THAT ENDS WELL (PAC)

Sketches of William Shakespeare’s ALL’S WELL THAT ENDS WELL from Philadelphia Artists’ Collective.

MAURITIUS (Act II): Feeling the philatelia

Act II Playhouse gets all dramatic with Theresa Rebeck’s MAURITIUS

THE BIRDS (Curio): Terror takes flight

This adaptation by master Irish playwright Conor McPherson finds its horror in the claustrophobic relationships between its four characters

HE WHO GETS SLAPPED (PAC): Spectacle and sadness at the circus

Leonid Andreyev’s classic tale of love and death in the Big Top is given original interludes of circus acts and live music to set the stage and mood.

DEATH OF A SALESMAN (Curio): Bringing Arthur Miller to life

Curio’s production underscores the delusion and the rawness of the lives of the Loman family.

BABY DOLL (McCarter): Not a girl, not yet a woman

In Tennessee Williams’s script for 27 Wagons Full of Cotton and the 1956 screenplay that derives from it, Baby Doll, everybody puts Baby in a corner.

DON QUIXOTE (Hedgerow): Cervantes’ knight errant rides anew

The fanciful adventures of knight errant Don Quixote and loyal his sidekick Sancho Panza are refreshingly revived.

OTHELLO (Curio): A different approach to an iconic tragedy

This original take on OTHELLO has more the feel of a farcical comedy than an ironic tragedy

Josh Carpenter (left) as Pip and Sally Mercer as Miss Havisham in the Arden Theatre Company’s GREAT EXPECTATIONS. Photo by Mark Garvin.

GREAT EXPECTATIONS (Arden): Exceeds all expectations

With a perfect combination of passion, pride, storytelling, and imagination, the Arden Theatre Company’s production of GREAT EXPECTATIONS is a thrilling night of theater.

Aetna Gallagher and Brian McCann in Curio Theatre Company's OEDIPUSSY.

OEDIPUSSY (Curio): Shenanigans, tomfoolery and ballyhoo reign

OEDIPUSSY isn’t something to analyze, it’s just something to enjoy— an antidote to life’s heavy stuff. Appealingly physical and comically overwrought, it’s tons of fun. The most amazing thing about this lunatic version is that the epic tragic story actually emerges through all the clowning, sight gags and laughter.