Philadelphia Theater

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Anthony Heald in GYPSY: Journeyman actor makes his way to Philadelphia

In a casting coup, Anthony Heald has come to Philadelphia to play Herbie in GYPSY at Arden Theatre.

Philadelphia theater calendar

Philadelphia Theater Calendar May 2017

What’s onstage in Philadelphia this month?

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[photo essay] Reverse Cowgirls and Hot Cowboys: Quince presents RODEO by Philip Dawkins

Photographer John Donges was at a recent run-through of RODEO, a fun family friendly play by Chicago writer Philip Dawkins.

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AN OCTOROON (Wilma): A melodrama, a social commentary, an experience

Beyond being entertaining and thought-provoking, Branden Jacobs-Jenkins’s AN OCTOROON is an experience

Photo by Matthew J. Photography

LOBBY HERO (Theatre Horizon): A web of unintended consequences

Kenneth Lonergan’s new play explores the many levels of trust.

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THE PHILLY FAN (Montgomery): The time is always ripe for a Philly sports story

Though Bruce Graham’s play is set on the eve of a potential Philadelphia sports triumph it chronicles the long-suffering, patiently impatient diehard who supports local professional teams.

David Pegram and Stephen Tyrone Williams in THE PIANO LESSON. Photo by T. Charles Erickson.

THE PIANO LESSON (McCarter): A fine tune

Baikida Carroll’s PIANO LESSON is August Wilson as it’s meant to be seen.

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Phindie in 2015: The most popular articles of the last twelve months

In 2015, Phindie published over 550 pieces on local theater, dance, and other arts. W look back at the pieces which you liked the most.

Jason Klemm as Rory, the pub owner, in Society Hill Playhouse's production of LAFFERTY'S WAKE (Photo courtesy of Michelle Pauls)

LAFFERTY’S WAKE (Society Hill Playhouse): Putting the fun in funeral

The LAFFERTY’S WAKE ensemble is quick and amiable in Susan Turlish’s gentle comic story,

Bi Jean Ngo, Greg Wood, David Bradley Johnson in SHIPWRECKED! (Photo credit: Walnut Street Theatre)

SHIPWRECKED! (Walnut): A delight of theater

SHIPWRECKED! goes to the heart of storytelling. It doesn’t matter whether a tale is true or false as long as it engages and even thrills.

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BUS STOP (BRT): A place of isolation

All of the individual stories the wayfarers tell in William Inge’s BUS STOP come through clearly in Susan D. Atkinson’s production of the ’50s classic at Bristol Riverside Theatre.

Megan Nicole Arnoldy and Paul Schaefer in HIGH SOCIETY. Photo by Mark Garvin.

HIGH SOCIETY (Walnut): A curious Philadelphia Story

A curiously performed version of Arthur Kopit’s unnecessary rearranging and cheapening of The Philadelphia Story.

Susannah Hoffman and Dylan McDermott in BABY DOLL. Photo by Richard Termine.

BABY DOLL (McCarter): Not a girl, not yet a woman

In Tennessee Williams’s script for 27 Wagons Full of Cotton and the 1956 screenplay that derives from it, Baby Doll, everybody puts Baby in a corner.

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EURYDICE (Villanova Theatre): Death is a continuation of life

Death, as experienced in director James Ijames’s comic yet movingly evocative production of Sarah Ruhl’s play, is a continuation of life.

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ALL MY SONS (People’s Light): A treat from the golden age of American theater

Seeing a naturalistic play by one of the masters of the form, Arthur Miller, with a cast and set that are as realistic and as authentically moving as the text, is a rarity and a treat.

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BITTER HOMES AND GARDENS (Bearded Ladies at PHS Pop-Up)

The Bearded Ladies latest show is planted full of good ideas, some of which germinate, some of which reach farther than they can comically travel, and some of which die on the vine.

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Mr. Darby Goes to New York: Double Time, All The Time

Langston Darby is continuously working. “Double time. All the time.” This September, one of the strongest actors in Philadelphia is departing for the Atlantic Acting School in New York

Susan Ferrara Barto (left) and David Newhouse in GROUCHO: A LIFE IN REVUE.

GROUCHO: A LIFE IN REVUE (ActorsNET): There’s no such thing as a sanity clause

Off stage, David Newhouse looks nothing like Groucho Marx. In makeup, Newhouse’s transformation is astounding.

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THE THREEPENNY OPERA (Villanova): Brecht played louder than the music

Republished by kind permission from Neals Paper. Kurt Weill’s insistent tingel-tangel score for THE THREEPENNY OPERA pervades the Vasey Hall stage, with horns and drum pumping to a martial beat that…

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UNDERNEATH THE LINTEL (Hedgerow): Following a shaggy dog to the library

One of the funniest and most entertaining of all shaggy dog stories.