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.
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
Off stage, David Newhouse looks nothing like Groucho Marx. In makeup, Newhouse’s transformation is astounding.
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…
One of the funniest and most entertaining of all shaggy dog stories.
The young talent the school is grooming stands out in the Temple Theater production of Stephen Sondheim and George Furth’s MERRILY WE ROLL ALONG.
Each January, local critic Neil Zoren announces his favorite production, direction, and male and female actor and male and female supporting actor for the previous calendar year.
The first complete calendar year of Phindie’s existence is almost at a close. This year Phindie published almost 500 pieces on local theater, dance, and other arts. We look back at the articles which you liked the most in 2014. Here are the top ten in various categories.
In doing MARY POPPINS, a director has to decide between approaches: light and fantastical like the movie or darker like the book.
Daniel Talbott’s YOU KNOW MY NAME: A DANIEL TALBOTT TRIO presents some unique challenges. Three short plays which could easily take place in the same town dwell with nearly pornographic clarity on the cruelty of the town’s inhabitants and of fate.
In shooting YOU KNOW MY NAME: A DANIEL TALBOTT TRIO, I wanted to capture not only the unique world in which Talbott’s plays occur, but the very different worlds of these three short plays. A kitchen (Break My Face on Your Hand), a public bench (You Know My Name), and a bedroom (What Happened When) become joyous, sinister, hopeful, despairing, or reassuring places as the plays move along and flow into one another.
In shooting Richard Greenberg’s THREE DAYS OF RAIN, my first photographic challenge was to capture the unique structure of the play: the first act is set in 1995 and involves a brother/sister and their old friend – the son of their father’s architecture partner and oldest friend. In Act II, the three actors play the parents of their Act I characters. So it was a dual challenge to photograph basically two casts instead of one, and to try and paint a visual portrait of what is both similar and different between each character and his/her parent, and to portray the look of two very different decades.
“I always hated the 70s when I was a kid because I was dumb,” and other words of wisdom from John Rosenberg, writer-director of Queen Of All Weapons
California born and bred, now entrenched in Philadelphia, the playwright-director John Rosenberg debuts his latest work Queen Of All Weapons this Saturday at 2pm at the Papermill Theater (2528 Ormes Street) in…
Bringing Women’s Voices to the Stage: an interview with Polly Rose Edelstein of Crack the Glass Theatre Company
It’s a common complaint: few good roles exist for female actors in Philadelphia. Indeed even your most ardent male feminist (self-proclaimed) tends to turn his theatre company into a boys’…
Six theater companies came together this season to create the Philadelphia Irish Theatre Festival, which featured eight contemporary plays from the Emerald Isle. Brat Productions is joining the fray with…
IS it just a little strange that in a festival with a theme of Paris 1910–20, few of the shows and none of the literature seem to mention that there was a little war going on
Lessons from Newt Gingrich: or how we in the theatre and dance communities can stop acting like losers and learn to make the nation love us
How often have you heard that performing arts are dying, that we’re a niche market, that you can never make a living off of it, that we’re a charity case?…