When you think Philadelphia theater, you think Bruce Graham. He shares his thoughts about his latest play, the state of theater in Philadelphia, and the art of writing plays.
EgoPo Classic Theater continues its foray into classics of American drama with a focus on female playwrights.
A Woman’s World: A conversation with Brenna Geffers, Lane Savadove, and Adrienne Mackey on bringing a new focus on women to Philadelphia theater
For the theme of its 2015–16 season, EgoPo Classic Theater has announced it will honor American female playwrights: Lillian Hellman, Clare Boothe Luce, and Sophie Treadwell.
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.
Shakespeare vs Stoppard: Exploring the Wilma’s dream pairing of HAMLET and ROSENCRANTZ AND GUILDENSTERN ARE DEAD
Two of the best plays in the English language and share most of the same characters and much of the same dialog. The Wilma is doing them in successive productions.
Flashpoint Theatre Company brings back its signature show for the holidays, David Sedaris’s THE SANTALAND DIARIES, for a ten-performance pre-Christmas run.
“We all do things that are sorta good, and things that are sorta not so good.” In RED SPEEDO, each character is capable of doing those things that are sorta not so good.
A Conversation with Playwright Lucas Hnath, Director Deborah Block, and the Cast of Theatre Exile’s RED SPEEDO
Playwright Lucas Hnath raises serious legal, ethical, societal, and personal issues in RED SPEEDO, his 2013 play enjoying its Philadelphia premiere at Theatre Exile.
One way to focus on the extraordinary eloquence and drama of Shakespeare’s language is to eliminate all visual distraction, and that is precisely what John Schultz has done in TILL BIRNAM WOOD—a rapid-fire 55-minute adaptation of Macbeth that is performed before a blindfolded audience.
Part of an ongoing international tour, FringeArts’ 13-performance engagement of White Rabbit, Red Rabbit follows the playwright’s rules: A script waits in a sealed envelope. ach night, a different actor steps on stage and opens the envelope, reading the script aloud for the first—and last—time.
At People’s Light and Theatre’s production of Henrik Ibsen’s GHOSTS, the program note written by dramaturg Gina Pisasale discusses Ibsen’s life and work. In his theater, Pisasale tells us, Ibsen created…
Eugene O’Neill’s early maritime heart-wrenchers, Bound East for Cardiff and In the Zone, are brought to life in the Philadelphia Artists’ Collective’s devastatingly effective site-specific production of THE SEA PLAYS….
With a series of celebrated readings and full productions (including 2012 Fringe hit The Creditors) Philadelphia Artists’ Collective has established a reputation as one of the best independent companies in…
Playwright Martin McDonagh delivers a powerful political message in the most palatable of pills