Remembering Philadelphia theater history through the eyes of a venerable theater reviewer.
Ian Merrill Peakes
A review in words and sketch by Chuck Schultz and Yumna Tolaimate
BASKERVILLE: A SHERLOCK HOLMES MYSTERY (Walnut Street): Ken Ludwig’s version turns the story on its head
An ancestral manor, a family curse, a fiend: Ken Ludwig’s version turns this Sherlock Holmes story on its head.
A good production that benefits most when it puts farce aside and concentrates on two people using their will to create partnership and harmony
Theatre Exile’s production of THE INVISIBLE HAND features an all-star creative team. We interviewed them.
THE INVISIBLE HAND (Theatre Exile): A gripping, thinking person’s play about the wages of self-interest
To call THE INVISIBLE HAND dramatic would be an understatement.
An outstanding ensemble recounts the backstory of Peter Pan in a madcap prequel with music.
The story is a little dated, but that is part of its charm, like watching a Norman Rockwell painting come to life.
In the wake of the Gunpowder Plot of 1605, Shakespeare is summoned to take on a play commission for the Crown.
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.
It’s the fourth installment of the Critical Mass review of MACBETH at the Arden, but Julius Ferraro thinks too many works have already been written about an unremarkable piece of theater.
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.
Did anyone anywhere actually believe that being photographed would take away the soul, or is that the kind of ethnocentric nonsense we need good foreign journalism to counter?
David Hirson’s riotous comedy in rhyming couplets evokes the farcical Baroque style of Molière while conveying a timeless message about high art versus low art.