Beth Henley’s play remains relevant because its central characters feel so vibrantly human
Curio’s designers have created a bubble of no time, no place, in which anything or nothing can happen.
The messiness in Rachel Gluck’s debut play is what make it most lifelike. In the end, what are any of us but destructive dualities, fighting between our desires and our own self-interest?
Something funny across the surface with dark issues riding just under it.
Curio’s production underscores the delusion and the rawness of the lives of the Loman family.
Ionesco offers comically entertaining insight on the careless and constant cacophony that passes for communication but is just platitudinous twaddle.
Paul Kuhn is perhaps the finest designer in Philadelphia’s independent theater. He tells Phindie about his prop design for a site-specific production of Ibsen’s HEDDA GABLER.
A timely retelling of Margaret Atwood’s classic dystopian novel.
The Zombie Apocalypse invades the Fringe with Tribe of Fools’ zany foray into the fright genre, with a serious socio-political message about gun violence.
Michael Frayn’s enormously popular 1980s play is a zany farce about doors and sardines, relationships, and mistakes.
This original take on OTHELLO has more the feel of a farcical comedy than an ironic tragedy
Curio personalizes a national news story: THE MATTER OF FRANK SCHAEFER, a Methodist priest defrocked for officiating his son’s same sex wedding.
OEDIPUSSY isn’t something to analyze, it’s just something to enjoy— an antidote to life’s heavy stuff. Appealingly physical and comically overwrought, it’s tons of fun. The most amazing thing about this lunatic version is that the epic tragic story actually emerges through all the clowning, sight gags and laughter.
Phindie looks at tax returns for local theaters to see how much they brought in from what sources. We also look at who the best paid employee was for each “non-profit”.
GENDER COMEDY: A LESS STUPID TWELFTH NIGHT GAY FANTASIA (Curio): A loving parody brings infectious glee
Harry Slack has cut the gaping holes in Shakespeare’s logic into microscope slides, and the result is a hilarious and self-aware send-up of the rarely-discussed flaws in the work of our most beloved playwright.