The Wilma Theater

DANCE NATION (Wilma): What it means to be ferociously pubescent

The constant menace of teenage ambition hums under the entire production.

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

Philadelphia Theater through the eyes of J. Cooper Robb, Part 1: 2002–2003

Remembering Philadelphia theater history through the eyes of a venerable theater reviewer.

James Ijames

James Ijames Gets Kesselring Prize

Philadelphia playwright wins prestigious award.

BLOOD WEDDING (Wilma): Movement in the veins

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

Barrymore Awards Nominations

Industry insiders vote on their favorite shows and artists in their community from the preceding theater season. The resulting awards recognize the best that Philly stages have to offer, and also musicals.

NOT FOR PROFIT (Ferdinand): 2015 Fringe review 64

A theater company, in the midst of financial crisis, ventures into new and risky territory in its upcoming production of The Tempest.

Campbell M O'Hare and Krista Apple-Hodge in RAPTURE, BLISTER, BURN. Photo by Alexander Iziliaez.

RAPTURE, BLISTER, BURN (Wilma): Feminism, access, and meaning on the stage

RAPTURE, BLISTER, BURN is an exploration of contemporary feminist questions and a story in which those theories are put to a practical test.