Justin Jain

DANCE NATION (Wilma): What it means to be ferociously pubescent

The constant menace of teenage ambition hums under the entire production.

THERE (Wilma): 2019 Fringe review

THERE is not a place on Earth’s map. It is not a poem recital, nor is it a play.

THERE (Wilma): 2019 Fringe review

Visually arresting and aurally haunting, THERE makes rarefied language solid and visceral

PASSAGE (Wilma): Love and death in Country X

The way to get an audience to ask itself profound questions about a work is not by asking the audience profound questions about the work.

BLOOD WEDDING (Wilma): Movement in the veins

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

THESE TERRIBLE THINGS (Berserker Residents): 2017 Fringe review

The Berserker Residents may parody the conventions of theater, but they clearly believe in its power

WHITE (Theatre Horizon): Representation matters

Playwright James Ijames offers a searing examination of the commodification of black experience.

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How should Philadelphia Theatre Company rebrand itself?

Cameron Kelsall has some ideas for the new executive director.

Bi Jean Ngo and Mina Kawahara in YOU FOR ME FOR YOU. Photo by Kate Raines/Plate 3 Photography.

YOU FOR ME FOR YOU (Interact): Sisters in different worlds

This thoughtful production changes how we see the world and ourselves

IT’S SO LEARNING (Berserker Residents): Will this be on the test?

The Berserker Residents take us back to school

IT’S SO LEARNING is Even Berserker!

Republished by kind permission from FringeArts. Bradley Wrenn, co-founder of The Berserker Residents, talks about how the company is revamping their 2015 Fringe hit It’s So Learning to reflect our new, terrifying…

INFORMED CONSENT (Lantern): A strange kind of ethics

The play has a compelling point to make about the diversity of truth and mutual respect, but in the end, it’s difficult to take the argument seriously.

THIS IS THE WEEK THAT IS: THE ELECTION SPECIAL (1812 Productions): Yuugely funny

Ho boy, it’s been quite the election cycle. Thankfully, Philadelphia has 1812 Productions to ease the pain with its annual satirical show.

AN OCTOROON (Wilma): A melodrama, a social commentary, an experience

Beyond being entertaining and thought-provoking, Branden Jacobs-Jenkins’s AN OCTOROON is an experience

What Can The Wilma Do With $10 Million?

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

THIS IS THE WEEK THAT IS (1812): The tenth anniversary of an annual favorite

This year’s installment of the annual politically-incorrect political comedy skewers the presidential candidates and brings some welcome laughs to a troubled week

ANTIGONE (Wilma): Spectacular, but a spectacular failure

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

IT’S SO LEARNING (Berserker Residents): 2015 Fringe Review 51

Go back to school with The Berserker Residents in this highly interactive ensemble-devised piece, in which you are the student and your teachers are berserk!

Promotional image for Sam Tower + Ensemble’s 901 NOWHERE STREET, with Emilie Krause (Photo credit: Lauren Tuvell)

Deb Miller’s 15 Top Picks for the 2015 Fringe Festival

Top Philly theater writer Deb Miller previews the best of the 2015 Philadelphia Fringe Festival.

CAUGHT (InterAct): On the nature of art and truth

When artful deceptions permeate an artist’s life, it casts doubt on everything we believe but never really knew.