David Hare has the uncanny knack of being able to talk out of both sides of his mouth.

An attempt to detangle this nine-scene play that’s designed to move backwards

Pinter’s use of reverse chronology highlights depths beyond the quiet drama and sedate setting.

Tiny Dynamite’s A Play A Pie A Pint makes a welcome return with a smart and silly one-man show

KC MacMillan talks about making the transition from freelance artist to administrative director, what she envisions for the next phase of her career, and what advice she has for young women who aspire to direct in Philadelphia

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.

GROUNDED is a tale for our times: war is most hellish when it resembles office life, reality is most profound rendered in pixels.

Kittson O’Neill plays a fighter pilot and expectant mother living in a desert suburb in the U.S. Southwest, controlling weapons which kill people in a distant foreign desert.

In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.

The production, though occasionally troubled, can still put a finger on the pulse of Shakespeare at its best.

A panel discussion on “Art-World Movers and Shakers” explores the art-related themes of the Lantern’s production of 36 VIEWS.

One actor plays dozens of roles in a hilarious parody of the mad scramble for reservations at a trendy restaurant in Manhattan.

The backstory of Rosalind Franklin’s seminal image that led to the discovery of the double-helix structure of the DNA molecule is examined in an engrossing Philadelphia premiere.

It may be daunting for theaters to produce the original theatrical source for a well-regarded movie, but Lantern Theater Company’s DOUBT shows why some plays are worth reclaiming for the stage.

Michael Fisher continues his multi-part critical consideration of the Lantern Theater Company’s ARCADIA.

Part One of Michael Fisher’s multi-part critical experiment, reviewing the Lantern Theater Company’s production of ARCADIA several times over its run.

Phindie writer Michael Fisher introduces his multi-part critical experiment, using the Lantern’s production of ARCADIA as his guinea pig subject.

Stoppard’s genius is to permeate his play with deep philosophical contemplation while using the play to explore those same issues.

In Berlin in the wake of German reunification, American John Marks writes to his friend “Doug Wright” (I AM MY OWN WIFE’s playwright) about the eccentric Charlotte. Having “grown up gay in the Bible Belt”, Wright is fascinated by the transgender Berliner and spends grant money and savings to pay her a series of visits, hoping to turn his interviews into a play.

As related in act one of this short two-act piece, Charlotte’s tale fascinates Wright (and the Theatre Horizon audience).

It’s now two hundred years ago that the famous line was published: “It is a truth universally acknowledged that a single man in possession of a good fortune must be…