Looking at Arden Childrens Theater in words and sketch
Henrik Eger talks to actor Amanda Schoonover about Sarah Kane and her career.
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.
Quintessence Theatre’s production of WAITING FOR GODOT just closed. Henrik Eger spoke to the director about his background and his experiences directing Samuel Beckett’s classic.
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.
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.
Director Charles McMahon equates the hot-blooded battle of wills between Kate and Petruchio with the intense, sensual, and stylized dance of the tango.
Katherine Fritz sat down with Ian August to chat Shakespeare, history, and what it means to be the guy who says, “I think I’d like to write a sequel to Shakespeare’s Titus Andronicus.”
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.
WE CAN ALL AGREE TO PRETEND THIS NEVER HAPPENED (Tiny Dynamite and InterAct Theatre Company): A Philadelphia world-premiere comedy
Season 4 of Tiny Dynamite’s month-long happy-hour series A Play, A Pie and A Pint concludes with its first commissioned work.