A quick, masterful production that would make Brecht proud.

Julius Ferraro and Christopher Munden discuss Lantern Theater’s production on Gchat.

An attempt to detangle this nine-scene play that’s designed to move backwards

Pinter’s use of reverse chronology highlights depths beyond the quiet drama and sedate setting.

Civilization has collapsed but The Simpsons is still going.

An ancestral manor, a family curse, a fiend: Ken Ludwig’s version turns this Sherlock Holmes story on its head.

Lorca’s BLOOD WEDDING makes a fitting vehicle for the Wilma Theater in-house troupe.

The InterAct Theater goes behind the scenes of a working kitchen

Scene one is hilarious; scene two wipes the smile right off your face.

Blanka Zizka boldly steps forth as both debut playwright and seasoned director of the semi-autobiographical ADAPT!

“We have all the time we ever had.”

An outstanding ensemble recounts the backstory of Peter Pan in a madcap prequel with music.

With his brilliant work and tragic arc, Oscar Wilde remains a fascinating figure.

A new $10 million in funds includes money for an updated facade, a cafe space, and a 10-member artistic company.

Charles McMahon discusses the inspiration, themes, and format of his new play on Oscar Wilde, prior to its world premiere with Lantern Theater Company.

The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.

Performers past and present share their thoughts and memories on a decade of Shakespeare in Clark Park.

Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.

Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.

From about 100 entries, winners in twenty-two categories were selected by a panel of twelve judges and announced at the Barrymore Awards ceremony tonight. InterAct Theatre’s Down Past Passyunk won top…