THE LONG TIDES weaves clown, movement, audience participation and narrative in a poignant audit of how we spend our minutes.
A podcast DJ and his tireless producer on a mission to conquer the late-night dregs-of-society demographic.
If the ninth circle of hell decided to host a baby shower, it would resemble something like PINK PUNCH by Cara Blouin.
A Car Full of Theater: Nell Bang-Jensen on road trips, small audiences, and her SoLow piece ROAD MAY FLOOD
Nell Bang-Jensen has drive. She’s a high octane, finely tuned machine of fully loaded artistic talent. And other motoring metaphors. As an actor, she seduced audiences at this season’s Luna…
Theater, dance, circus, and a return to the stage after 12 years. Nice and Fresh January is supremely accessible performance art.
Exclusive recording of John Rosenberg’s CANA OF GALILEE, a full-length play only performed once, in a living room in Philadelphia, April 2014.
I took a seat on one of the long, cushioned benches at the unusual Hedgerow Theatre, a grist mill from the 1800s, for the opening night of SENSE AND SENSIBILITY. Satisfied that at least I was introduced to such a beautiful place, I wondered what Jane Austen was going to smother me with this time.
Ten seconds into Murmuration’s inaugural production of Jessie Bear’s brand spankin’ new play, MAKESHIFT, Brian David Ratcliff, stands like a little boy by his lonesome on stage in what he describes as a devastated post-apocalyptic earth donning a royal blue super hero cape, goggles strapped to his head, holding a tape recorder up to his mouth declaring: “I, Michael Bolton will save the world.” I thought: “Wow, we are really on the edge of a cliff here, and Oops, I think we fell off into—I don’t know what.”
Strange games are afoot upstairs at Plays and Players. Not light or fun games, either—we’re talking full-on Don’t-talk-about-our-son-Martha! games here. Murmuration Theater’s new play MAKESHIFT throws us right into the middle of two different stories, and figures we’re smart enough to figure out what’s going on. The show doesn’t dole out much information, and when it does, it’s timed for maximum effect. Once you get enough to realize the show’s central conceit (which is quite nice, and unfolds so organically that I’d hate to spoil it), the earlier scenes come into better focus and make more sense.