In a heartfelt moment, Elizabeth Barrett Browning tells her poet-husband, “I’m going to dip your cock in laudanum and fuck you til i’m high”
What better theatrical vehicle for cynicism than “meta”: how many ways can the playwright fool an audience?
The audience gather together on two adjacent hill sides and in the middle is a stretch of grass,
Addressing the needs of the communities in West Philadelphia through self-esteem building experiences for youth in theater.
Ionesco offers comically entertaining insight on the careless and constant cacophony that passes for communication but is just platitudinous twaddle.
If you don’t think every play is about sex, you shouldn’t be making theater.
Civilization is not easy to maintain. One knock and the lapse of a moment can set it off kilter.
Commonwealth Classic Theatre presents a world-premiere production of Paul Parente’s meaningful tragicomedy on the absurdities and horrors of war, inspired by the events and characters from Homer’s Iliad.
Thomas Heywood’s ridiculous rip-roaring romantic romp across the high seas of the English Renaissance is the latest in the Philadelphia Artists’ Collective’s acclaimed productions of rarely seen classics.
A Reversal of Roles for KC MacMillan: The director speaks to Phindie about her return to acting in THE FAIR MAID OF THE WEST (PAC)
Known to everyone in the Philadelphia theater community as a director, dramaturg, and associate artistic director of Lantern Theater Company, KC MacMillan is now adding actor to her list of professional…
Phindie spoke to Damon Bonetti, a founding member of the Philadelphia Artists’ Collective and director of PAC’s latest offering, Frederico Garcia Lorca’s BLOOD WEDDING.
For the second year, Phindie asked local theater writers to vote on the best theatrical work produced in or near the city in the 2013/14 theater season.
Philadelphia Artist Collective’s tightly-corseted production of Frederich Schiller’s Mary Stuart, starring the earth-shattering Charlotte Northeast and the finely-tuned Krista Apple Hodge will leave you white-knuckle-gripping the edge of your seat. Sitting in a severe theater-in-the-round circle, the audience itself forms four oppressive walls seemingly trapping the actors on the Broad Street Ministry’s cherry wood floor. If Schiller were alive today, he would raise a thumb in approval of director Dan Hodge’s minimalist approach.