The audience gather together on two adjacent hill sides and in the middle is a stretch of grass,
Judith Lightfoot Clarke
If Jesus were to appear today, what form would he take? A loving son of God, a Marxist activist, or a corporate exec who wants everyone to be rich?
The elements which displease other writers are what makes this production a success, according to Michael Fisher in review five of the ongoing Critical Mass series.
It’s the fourth installment of the Critical Mass review of MACBETH at the Arden, but Julius Ferraro thinks too many works have already been written about an unremarkable piece of theater.
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.
Alexander Burns’ production of MACBETH at Arden Theatre Company is energetic and visually engaging, but it lacks ferocity and substance.
Burns maintains the energy and pacing of his best work for Quintessence and takes full advantage of the Arden’s high production values to create an exuberant and understandable version of Shakespeare’s masterpiece.
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.
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.