Philly Shakes’ production isn’t afraid to embrace the wonderfully silly and naughty aspects of Shakespeare, and the approach works like a charm.
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.
Alexander Burns’ production of MACBETH at Arden Theatre Company is energetic and visually engaging, but it lacks ferocity and substance.
RICHARD II is a richly rewarding play, full of insightful and startling verse, but you might want to read a synopsis before seeing this production.
This is no mere retelling of Romeo and Juliet. What we get is a conjuring, a blood-letting, a full-throated cry of rage.
They’ve known each other for what—a couple of hours? Already they’re crazy in love, and they’ll steadfastly love each other against all odds. A love to die for. One of the world’s most celebrated and enduring love stories, ROMEO AND JULIET, is currently on stage at The Philadelphia Shakespeare Theatre.
You may have seen the Lantern Theater Company’s JULIUS CAESAR, which recast Shakespeare’s political tragedy in Feudal Japan. You may also have seen the open letter that local playwright and performer Makoto Hirano hand-delivered to The Lantern on “How to Stage Your Show Without Being Super Racist,” which he signed “Makoto Hirano, Dance-theatre artist, actual Japanese person, and actual Samurai descendent,” reposted on Phindie with Hirano’s consent.
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.
David Patrick Stearns writes yet another petulant review, this time of Pig Iron’s TWELFTH NIGHT. If he whines enough that he isn’t entertained at theater and doesn’t get it, will…