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.
Kenneth Lonergan’s new play explores the many levels of trust.
A world-premiere stage adaptation of Mary Mapes Dodge’s 19th-century children’s story delivers a clear message about the importance of kindness and understanding.
The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.
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.
Theater, dance, circus, and a return to the stage after 12 years. Nice and Fresh January is supremely accessible performance art.
“We all do things that are sorta good, and things that are sorta not so good.” In RED SPEEDO, each character is capable of doing those things that are sorta not so good.
A Conversation with Playwright Lucas Hnath, Director Deborah Block, and the Cast of Theatre Exile’s RED SPEEDO
Playwright Lucas Hnath raises serious legal, ethical, societal, and personal issues in RED SPEEDO, his 2013 play enjoying its Philadelphia premiere at Theatre Exile.
Tom’s Stoppard’s dramedy THE REAL THING is set on a constantly evolving stage transforming into different locations in the UK during the early 1980s. Sky-high walls disappear, doors emerge out of nowhere, and scenes fluidly fold into the next with the help of nimble cast and crewmembers. First off, a man sits building a house of cards in a perfectly done up living room, while awaiting his wife’s return. The card house collapses with her sudden entrance, as does their marriage when he confronts her with the passport she left behind – on her trip out of the country. The whole scene feels rather put on, and the fake English accents don’t help.
Call it Don Juan or Don Giovanni, the Don Juan story, handed down through time, is pre-loaded with a mix of serious and comic elements and a supernatural dimension. DON JUAN COMES HOME FROM IRAQ, from theater luminaries Paula Vogel (playwright) and Banka Zizka (director), has the gravitas down and doesn’t lose sight of humor, but extra pieces lodge within this puzzle’s slippery treatment of time and reality.
Ten seconds into Murmuration’s inaugural production of Jessie Bear’s brand spankin’ new play, MAKESHIFT, Brian David Ratcliff, stands like a little boy by his lonesome on stage in what he describes as a devastated post-apocalyptic earth donning a royal blue super hero cape, goggles strapped to his head, holding a tape recorder up to his mouth declaring: “I, Michael Bolton will save the world.” I thought: “Wow, we are really on the edge of a cliff here, and Oops, I think we fell off into—I don’t know what.”
Strange games are afoot upstairs at Plays and Players. Not light or fun games, either—we’re talking full-on Don’t-talk-about-our-son-Martha! games here. Murmuration Theater’s new play MAKESHIFT throws us right into the middle of two different stories, and figures we’re smart enough to figure out what’s going on. The show doesn’t dole out much information, and when it does, it’s timed for maximum effect. Once you get enough to realize the show’s central conceit (which is quite nice, and unfolds so organically that I’d hate to spoil it), the earlier scenes come into better focus and make more sense.
Eugene O’Neill’s early maritime heart-wrenchers, Bound East for Cardiff and In the Zone, are brought to life in the Philadelphia Artists’ Collective’s devastatingly effective site-specific production of THE SEA PLAYS….
With a series of celebrated readings and full productions (including 2012 Fringe hit The Creditors) Philadelphia Artists’ Collective has established a reputation as one of the best independent companies in…