A DOLL’S HOUSE, PART 2 (Arden): Imagining another Nora
Naomi Orwin asks: Would a woman have envisioned a different Nora? A different Torvald?
Steven Rishard
A DOLL’S HOUSE, PART 2 (Arden): After the slam
Lucas Hnath takes up Nora’s story fifteen years after the events of Henrik Ibsen’s classic play.
A Door Slams, A Door Opens: Previewing A DOLL’S HOUSE PART 2 at the Arden
Chuck Schultz previews Lucas Hnath’s sequel to Ibsen’s classic.
ADAPT! (Wilma): On the brink of dawn
Blanka Zizka boldly steps forth as both debut playwright and seasoned director of the semi-autobiographical ADAPT!
WHEN THE RAIN STOPS FALLING (Wilma): How a hard rain’s a gonna fall
Using the endtimes as a backdrop, Andrew Bovell uses the drama within a family’s history as a parallel for the turbulence in humanity’s.
THE HARD PROBLEM (Wilma): Stoppard makes intelligible intelligence look easy
Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.
What Can The Wilma Do With $10 Million?
A new $10 million in funds includes money for an updated facade, a cafe space, and a 10-member artistic company.
ANTIGONE (Wilma): Spectacular, but a spectacular failure
The man behind the 2013 Fringe Festival hit AJAX, The Madness directs his version of ANTIGONE for the Wilma Theater.
ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Wilma): A contemporary classic, in three parts
Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.
HAMLET (Wilma): Blanka Zizka’s daring production amazes while keeping its distance
Not unlike the U.S. Constitution, HAMLET endures partly because its imperfections and spaces allow for different ways to read it.
DETROIT (PTC): Where the American Dream goes to die
Cities and thrones and powers/ Stand in time’s eye,/ Almost as long as flowers,/ Which daily die
