An excellent play well done.
E. Ashley Izard
E. Ashley Izard tackles one of the most daunting roles in the American canon.
What could be so funny in a play written nearly 500 years ago? There is something for everyone to either laugh or balk at in this bawdy production of a play by Machiavelli.
In the eyes of director Alexander Burns this doomed romance never stood a chance.
The elements which displease other writers are what makes this production a success, according to Michael Fisher in review five of the ongoing Critical Mass series.
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.
Alexander Burns’ production of MACBETH at Arden Theatre Company is energetic and visually engaging, but it lacks ferocity and substance.
Burns maintains the energy and pacing of his best work for Quintessence and takes full advantage of the Arden’s high production values to create an exuberant and understandable version of Shakespeare’s masterpiece.
Director Whit MacLaughlin employs both live actors and shadow puppets to convey both the darkness and magic of the popular story.
Kyle Cassidy photographs Commonwealth Classic Theatre Company’s production of Tennessee Williams’s THE GLASS MENAGERIE, now onstage at the Off Broad Street Theatre.
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…
SHE STOOPS is an 18th-century comedy of manners and mistaken identities by Oliver Goldsmith. It is considered by many to be the most enduring of 18th-century plays (name another you’ve…
Hip, fast-paced, with a frat-boy-cool lead: these aren’t usually phrases to describe HAMLET. But Quintessence Theatre Group’s heavily edited version takes a bare bodkin to Shakespeare’s story of revenge and existential crisis in the state of Denmark.