The performers leave a bright impression in a play that’s a caricature of life and art,
Cameron Kelsall has some ideas for the new executive director.
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.
Using the endtimes as a backdrop, Andrew Bovell uses the drama within a family’s history as a parallel for the turbulence in humanity’s.
The production, though occasionally troubled, can still put a finger on the pulse of Shakespeare at its best.
An outstanding ensemble recounts the backstory of Peter Pan in a madcap prequel with music.
You might be done with the past, but the past ain’t done with you: Matt Pfeiffer on O’Neill’s ANNA CHRISTIE
Matt Pfeiffer discusses the Eugene O’Neill play ahead of PAC’s reading.
Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.
Moonwalking on the Moon: Lindsay Smiling on Michael Jackson, Philly theater, and the inaugural production by Orbiter 3
This week marks a landmark in independent theater in Philadelphia: the inaugural production by Orbiter 3, a new producing playwrights collective. Over the next three years, the company will produce six…
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.