Martin Zimmerman’s visceral, thoroughly modern, elegant one-woman show inspired by the tragic 2012 Sandy Hook Elementary School mass shooting.
Director Matt Pfeiffer talks about directing a one-actor play about gun violence
Seduction by examples of computational intractability
What? Him again? Yes and no.
More engrossing, more alienating, and more disciplined than its predecessor.
A provocative and dismaying story, conveyed through complex characters rather than through statistics and theories
TOMMY AND ME does a lot to make itself likable. Didinger’s love for McDonald is evident and provides a herculean effort towards making the play work. It’s incredibly tempting to allow yourself to be swept away in a sea of sincerity.
A good production that benefits most when it puts farce aside and concentrates on two people using their will to create partnership and harmony
Men At Some Time Are Masters of Their Fates: Interview with Maboud Ebrahimzadeh on THE INVISIBLE HAND
Theatre Exile’s production of THE INVISIBLE HAND features an all-star creative team. We interviewed them.
THE INVISIBLE HAND (Theatre Exile): A gripping, thinking person’s play about the wages of self-interest
To call THE INVISIBLE HAND dramatic would be an understatement.
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.
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.