Henrik Eger greets international Fringe artists.
Female-centric theater group ReVamp Collective presents 12 CHAIRS.
REV Theatre Company let loose a quirky combo of fright-night-meets-kickline-cabaret for this year’s Fringe.
Dives into the lives of Irish tenement dwellers at the time of the 1916 Easter Rising
Nine Irish Heritage Theatre actors talk about the Irish roots of Sean O’Casey’s THE PLOUGH AND THE STARS.
In this, the second of a two-part interview (read part one here), Henrik Eger talks to playwright Susan Turlish about her work.
Impressive theatricality in an imperfect production of Orwell’s allegory of the Russian Revolution and Stalin’s real-life dystopia.
Brightening Up SoLow Fest: Bright Invention takes over this year’s festival with nine original shows
Nearly a quarter of the works in this year’s SoLow Fest come from one company: Bright Invention.
Every actor has experienced theater critics who got things a little wrong. Here’s their chance to peel their own onion.
Society Hill Playhouse celebrates St. Patrick’s Day with a seasonal revival of Susan Turlish’s musical-comedy send-up of the Irish,
In 1997, Inquirer theater critic Douglas J. Keating attended the world premiere of LAFFERTY’S WAKE, an interactive Irish-style play conceived by Susan Turlish and her cast of local actors.
TIL DIVORCE DO US PART: THE MUSICAL (Society Hill Playhouse): The annoying ex you never wanted to see
This 90-minute cabaret featuring of three bitter divorced women and a newspaper pen pal crams heartless bubble gum jingles and cheap laughs into the plot of a confused Lifetime special.
LIVING IN EXILE: A RETELLING OF THE ILIAD (Philadelphia Experimental Theatre Ensemble): Fringe Review 68
LIVING IN EXILE presents a compelling reinterpretation of the Trojan War; playwright Jon Lipsky’s script draws directly upon the Homeric tradition of oral recitation.
Now in its 18th year, the Philadelphia Fringe Festival has changed a lot since its early days. Once a small weeklong Old City event, with shows and happenings across the…
While THE TOUGHEST BOY IN PHILADELPHIA has something important to say, the material is arranged so carelessly that I’ll be damned if I can tell you what it is.
From the moment you arrive, Iron Age Theatre’s production of Sam Shepard’s BURIED CHILD, directed and designed by John Doyle and Randall Wise, thrusts you into a deeply disturbing world of grime, decay, and depression. Mounds of barren dirt, wood chips, and dried-out stalks surround and invade a tumbledown farmhouse with a rusted old mailbox that hasn’t seen a delivery in years. Inside, a filthy stained sofa with torn-up upholstery and torn-out stuffing is held together by black duct tape, as huge gaps between the rough-hewn wall slats let in the pouring rain and dreary darkness of a relentless storm.
The performance spaces which have made Kensington their home (Walking Fish Theatre, Hella Fresh, Mascher Space, and fidgetspace) are remote, both financially and physically, from the city, yet still close enough to converse artistically with downtown venues and even to attract funding.