No one captures the timbre of hometown Philadelphia better than playwright Bruce Graham, and nowhere is that more evident than in this regional premiere.
The adaptation appropriates the ludicrous plot points and outlandish characters in Arthur Conan Doyle’s opus for a fast and fun theatrical comedy.
Agatha Christie has always been a theatrical guilty pleasure, like sitting down with a nice genre book or singing along to top 40
Not many plays have this kind of unmistakable resonance. When you encounter such a play, you know it. With works of consequence you can feel the pull of intelligence and transformation moving under the surface.
Flashpoint Theatre Company brings back its signature show for the holidays, David Sedaris’s THE SANTALAND DIARIES, for a ten-performance pre-Christmas run.
John Patrick Shanley’s rom-com charmer is a play about feelings, expressed with an Irish lilt by two generations of neighbors in the Emerald Isle
Love, betrayal, vengeance, and death are the themes of Federico García Lorca’s Spanish Symbolist tragedy, BLOOD WEDDING.
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.
Local-born playwright Jessica Dickey considers the humor and heartache of mustering the courage to fight in an insightful comedy about three Civil War re-enactors.
Plot-wise, 39 STEPS stays quite true to the original film (often down to the dialogue), with a few other Hitchcock references thrown in for good measure. The difference? This play is the height of camp.
I once heard then-governor Ed Rendell give some cheesesteak advice: for the real deal don’t go to one of the big name line-around-the-block places, go to a food truck or your local deli and get one made-to-order. I was thinking about this truism and our prevailing infatuation with authenticity as I watched A. Zell Williams’s world premiere production of DOWN PAST PASSYUNK at InterAct Theatre.
If William Shakespeare was alive today he’d be a …. well, he’d probably be a poet and playwright, but he’d also make a damn good political speechwriter. The crux of his JULIUS CAESAR, now in an accessible production by Lantern Theater Company, comes in a speech following the title character’s assassination.
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.
Theatre Exile mounts new, dicey plays and modern classics—badass classics, that is, from outstanding contemporary playwrights like Tracy Letts, Martin McDonough, and in this case, Sam Shepard. For anyone out…
Vaudeville has returned in all its glory with 1812’s THE BIG TIME: NEW VAUDEVILLE FOR THE HOLIDAYS. Pratfalls, double entendres, and caricatures of people past and present light up the…
Here’s the setup: A young man has lived with his male lover for a few years. During a spat he falls for a woman. Things have gotten complicated and he…
Finding love and self-knowledge beyond the fixed categories of sexual identity (gay, straight, or bi) is the central theme of Michael Bartlett’s COCK, now in its Philadelphia premiere at Theatre…