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…

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.

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.