Lantern Theater’s production of THE TEMPEST, Shakespeare’s last play, is an enjoyable, modest show, full of comedy and romance and the gentle spirit of human forgiveness.
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.
Visually beautiful and compelling in its coherence, 36 VIEWS weaves these intellectual concepts on the uncertainty of art and life with a wholly original style.
A cross-temporal interpretation of Shakespeare’s Elizabethan classic injects passages of current expressions and gestures, slapstick, and original music into the well-known pastoral rom-com.
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.
With his brilliant work and tragic arc, Oscar Wilde remains a fascinating figure.
Charles McMahon discusses the inspiration, themes, and format of his new play on Oscar Wilde, prior to its world premiere with Lantern Theater Company.
British-born actor Harry Smith talks about his background in the UK, his life and career in Philadelphia, and his upcoming debut on Broadway.
The backstory of Rosalind Franklin’s seminal image that led to the discovery of the double-helix structure of the DNA molecule is examined in an engrossing Philadelphia premiere.
Director Charles McMahon equates the hot-blooded battle of wills between Kate and Petruchio with the intense, sensual, and stylized dance of the tango.
The fault, dear Brutus, Act III: Makoto Hirano interviews Lantern AD Charles McMahon about “Super Racist” Julius Caesar
Makoto Hirano asks Lantern artistic director Charles McMahon some tough questions about the “Super Racist” Julius Caesar. And a clearly contrite McMahon does his best to explain the process that lead to the company’s misguided choices.
You may have seen the Lantern Theater Company’s JULIUS CAESAR, which recast Shakespeare’s political tragedy in Feudal Japan. You may also have seen the open letter that local playwright and performer Makoto Hirano hand-delivered to The Lantern on “How to Stage Your Show Without Being Super Racist,” which he signed “Makoto Hirano, Dance-theatre artist, actual Japanese person, and actual Samurai descendent,” reposted on Phindie with Hirano’s consent.
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.
Dylan Thomas’s poem A CHILD’S CHRISTMAS IN WALES runs the risk of becoming sticky-sweet with nostalgia, and it is director Sebastienne Mundheim’s idiosyncratic vision, and the spot-on instincts of her actors, which…
Lantern Theater Company’s world premiere adaptation of A CHILD’S CHRISTMAS IN WALES by Charles McMahon and Sebastienne Mundheim, the inventive “interdisciplinary performance-maker” who designed the production and also directs, captures all the warmth, nostalgia, and childlike wonder of the original, employing live actors, puppets, miniature houses, plastic-bag clouds, and exhilarating snow flurries to transform Thomas’s descriptive language and idealized memories into an enchanting theatrical vision.