An extended consideration of the new Synge production from Mount Airy’s Quintessence Theatre.
When PLAYBOY OF THE WESTERN WORLD premiered in Philadelphia in 1912, riots broke out. Quintessence’s skillful production features consistently strong performances that manage to surprise and delight.
HUMAN RITES succeeds as a vehicle to tackle such hot-topic themes as appropriation and intersectionality.
What better theatrical vehicle for cynicism than “meta”: how many ways can the playwright fool an audience?
Visually beautiful and compelling in its coherence, 36 VIEWS weaves these intellectual concepts on the uncertainty of art and life with a wholly original style.
A brilliant new stage adaptation of Jane Austen’s romantic comedy of manners captures the satiric wit and sociological insight of the 19th-century classic.
No golf interest? No problem. This show has tongue-in-cheek humor, love, competition, and the danger of the unexpected.
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.
New City Stage Company concludes its season-long look at at the American political summit with THE WEST WING FESTIVAL, a series of (FREE!) staged readings at the Adrienne Theater Skybox.
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.
Though EM Lewis’s 80-minute thriller TRUE STORY pays homage to Raymond Chandler’s detective-story and film-noir tradition of the 1930s and ‘40s, the play offers a more current (cell-phone era) exploration of the genre. It combining the twists and turns of a gripping murder mystery with the profound human issues of coping with loss, assuming responsibility, the nature of truth, and the desire for justice. Passage Theatre Company’s world-premiere production, directed with wit and suspense by Damon Bonetti, succeeds in delivering all the surprises, humor, emotion, and psychology inherent in the script.