Henrik Eger considers PTC’s Sweat, Walnut’s Holiday Inn, and the state of American culture.
Emily Zeck brings a wealth of experience to her new role as Philadelphia Theatre Company’s managing director.
Cameron Kelsall has some ideas for the new executive director.
Rhythm, race, and energy: Interview with Ozzie Jones on the first African American production of DEATH OF A SALESMAN in Philadelphia The issue of diversity in theater (and in the... 
PETITE MORT and World Premieres (Pennsylvania Ballet): Lamentation and Revolution The exuberant choreography was spectacular, the dancers striking, and the dramatic finale stirred the viewers’ imagination. 
An Aerialist Brazilian: Danila Bim discusses her work with Cirque du Soleil’s VOLTA Danila Bim’s job is literally hair-raising! 
Parenting Matilda: Christopher Sutton and Lyn Philistine on their roles in Roald Dahl’s classic Real life parents play onstage parents in MATILDA THE MUSICAL. 
MOLLY SWEENEY (Irish Heritage Theatre): That the blind may see Turn off your phones, step away from your laptops, and run, don’t walk to the Irish Heritage Theatre’s first ever Barrymore-eligible product... Support Phindie operations
Montreal-based performer William Bonnet (formerly of 7 Fingers, who delighted in last year’s Philadelphia Live Arts with Sequence 8) executes a seamless blend of dance, acrobatics, gymnastics, magic, and mime in LEO, the psychological and physical study of a man trapped in isolation in a small room with a bare hanging light bulb. The anti-gravity illusion combines live performance, in an open-front and open-top horizontal box, with a live-feed video projection of the scene on a vertical screen next to it, flipped at a 90 degree angle. The audience gasps, laughs, and marvels at Bonnet and his props (a suitcase, a tie, a hat, a bottle of water) as they boggle the mind, fool the eye, contradict logic, and defy the laws of nature by appearing to hover in mid-air and to flow upward instead of down. more…
