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.
For the second year, Phindie asked local theater writers to vote on the best theatrical work produced in or near the city in the 2013/14 theater season.
Jason (David Bardeen) and Brendan (Jered McLenigan) ease the paucity of Ritu’s (Rebecca Khalil) existence by sending monthly checks through an aid organization. The last thing in the world they’d ever expect would be for their charity case to show up in their living room.
Some of life’s biggest journeys begin with that one small voice in our heads, telling us to take an unexpected leap of faith. As a painfully shy young girl channeling bold songstresses of the past through her deceased father’s record collection, Ellie Mooney delightfully shows audiences how to find the power within, as the star of THE RISE AND FALL OF LITTLE VOICE.
“Will it be in yellow face,” my friend asked when I told him about Lantern Theater Company’s decision to stage Shakespeare’s Julius Caesar in feudal Japan, when what the meant was “in kimonos with some Japanese screens and music” seemed somehow culturally tone deaf.
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.
New City Stage Company’s Philadelphia premiere of FROST/NIXON is anything but the dry historical debate you might expect. Under Aaron Cromie’s brilliant direction, playwright Peter Morgan’s story of the series of TV interviews conducted by faltering British talk-show host David Frost in 1977 with disgraced US President Richard Nixon is a painfully tense and surprisingly humorous cat-and-mouse game.
THE WOMAN IN BLACK: A GHOST PLAY is a cleverly constructed stage production by Stephen Mallatratt based on a novel by Susan Hill. It is a story within a story with Arthur Kipps (Dan Kern) seeking the assistance of an actor (Jered McLenigan) to tell his terrifying and sorrowful tale he’s compiled into a five hour manuscript. The actor encourages Kipps to tell the story through acting; the actor playing the role of Kipps and Kipps playing the roles of the people he encountered during his experiences.
Shakespeare’s early revenge tragedy, TITUS ANDRONICUS, is a bloodbath of murder, dismemberment, rape, and cannibalism, which has remained for centuries the Bard’s most maligned work. Some have questioned its authorship,…
PTERODACTYLS takes place in a sterile Main Line living room (set design Cory Palmer), a fitting setting for a work reminiscent of Victorian drawing room comedy. Bygone era music underlines…