Lorca’s BLOOD WEDDING makes a fitting vehicle for the Wilma Theater in-house troupe.

Blanka Zizka boldly steps forth as both debut playwright and seasoned director of the semi-autobiographical ADAPT!

At 800+ pages, Fyodor Dostoevsky’s The Brothers Karamazov would not seem ideally suited to theatrical interpretation.

A dank, metallic, appropriately oppressive feel imbues this production of Sophie Treadwell’s 90-year-old play.

Leonid Andreyev’s classic tale of love and death in the Big Top is given original interludes of circus acts and live music to set the stage and mood.

Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.

A new $10 million in funds includes money for an updated facade, a cafe space, and a 10-member artistic company.

The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.

Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.

Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.

Interview with British actor Zainab Jah, who takes on the role of HAMLET at the Wilma Theater.

Two of the best plays in the English language share most of the same characters and much of the same dialog. The Wilma is doing them in successive productions.

Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.

A thrilling, thought-provoking, wonderfully heart-wrenching play now receiving its world premiere by InterAct Theatre Company.

New City Stage Company concludes its season-long look at at the American political summit with THE WEST WING FESTIVAL, a series of (FREE!) staged readings at the Adrienne Theater Skybox.

Philadelphia Artist Collective’s tightly-corseted production of Frederich Schiller’s Mary Stuart, starring the earth-shattering Charlotte Northeast and the finely-tuned Krista Apple Hodge will leave you white-knuckle-gripping the edge of your seat. Sitting in a severe theater-in-the-round circle, the audience itself forms four oppressive walls seemingly trapping the actors on the Broad Street Ministry’s cherry wood floor. If Schiller were alive today, he would raise a thumb in approval of director Dan Hodge’s minimalist approach.

Henrik Ibsen’s name is so thoroughly canonized in theater history that it’s easy to forget just how progressive the man was as a playwright. Works like A DOLL’S HOUSE are rightly granted…

An original chamber opera by the exciting young Philadelphia Opera Collective, OPERA MACABRE—which fittingly opened on Friday the 13th!—captures all the hair-raising suspense and psychological disturbance of Edgar Allan Poe’s…

There is a certain brand of comedy that bases its entire aesthetic on the idea that genitalia, in and of itself, is hilarious. A lot of trashy movies from the…