Taysha Canales

THERE (Wilma): 2019 Fringe review

THERE is not a place on Earth’s map. It is not a poem recital, nor is it a play.

THERE (Wilma): 2019 Fringe review

Visually arresting and aurally haunting, THERE makes rarefied language solid and visceral

BLOOD WEDDING (Wilma): Movement in the veins

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

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.

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

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.

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.

THE JUNGLE BOOK (Arden): Merging morals with make-believe

Based on British author Rudyard Kipling’s series of exotic children’s stories inspired by his childhood in India, THE JUNGLE BOOK is now an engaging family play, celebrating its world premiere at Arden Children’s Theatre.

Diary of a Playwright, part 2: Doug Williams sees MOON CAVE take the stage

Part Two of Douglas Williams backstage diary as the play he wrote finishes rehearsals and opens to audiences.

MOON CAVE (Azuka Theatre): Eclipse of the mind

Playwright Douglas Williams gives us a view into the life and psyche of a young man haunted by horrific events from his past.

Diary of a Playwright: Doug Williams tracks his thoughts as he prepares for his first professional production

Douglas Williams has partnered with Phindie to share the playwright’s perspective as a new play is developed, rehearsed, and produced

Finding art in taking risks: Doug Williams

“I have hated this play sometimes,” says Doug Williams. Strong words, when you’re talking about something you’ve written yourself.

Classic Plays, Living Playwrights? Interview with Ian August, author of THE MOOR’S SON (PAC)

Katherine Fritz sat down with Ian August to chat Shakespeare, history, and what it means to be the guy who says, “I think I’d like to write a sequel to Shakespeare’s Titus Andronicus.”

James Ijames

Freezing one’s laughter mid-stream: THE MOST SPECTACULARLY LAMENTABLE TRIAL OF MIZ MARTHA WASHINGTON by James Ijames

“You will be broken and put back together again,” as one theatregoer commented on Facebook.

Given the explosive nature of this extraordinary play, I thought it important to talk to the playwright directly.

Marcus Plays and Players review photo

MARCUS; OR THE SECRET OF SWEET (Plays & Players): 60-second review

Is life sweet when you live in the Louisiana Bayou before an unprecedented storm hits?  For Marcus (Eric L. Fleming), life at 16 years of age is not only sweet, but…

A MYSTERY? (Dragon’s Eye Theatre)

[65] A MYSTERY? (Dragon’s Eye Theatre): Fringe review

Picture the scene:  You are a child under ten years old; you meet three other children, each quite young, Brendan (Patrick Lamborn) is a mandolin prodigy and an Elvis impersonator.  After an…