Thom Weaver

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BUZZER (Theatre Exile): We wouldn’t come here if we didn’t live here

A provocative and dismaying story, conveyed through complex characters rather than through statistics and theories

Philadelphia Theatre Company Hand of God review

HAND TO GOD (PTC): The human comedy with sock puppets

What a funny, nasty, smart show.

Lenta (Aneta Kerova) and the Old Woman (Azetz Papadopoulou). Sketch by Chuck Schultz.

ADAPT! (Wilma): On the brink of dawn

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

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seagull EgoPo review

SEAGULL (EgoPo): A comedy of torn hearts and thwarted dreams

The pathetically unfulfilled romantic expectations! The sad characters and absurd human comedy! EgoPo nails it, and beautifully. Sketches by Chuck Schultz.

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LIZZIE (11th Hour): Lizzie Borden took an axe

This is what “stifled rage” sounds like. Not so stifled, but certainly enraged.

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A YEAR WITH FROG AND TOAD (Arden Children’s Theatre): Another year with frog and toad

The simple tricks of the stage awe an audience of CGI-era children, showing that even something as normal as friendship can be magic.

Alex Keiper and Dan Hodge in the Arden’s STUPID FUCKING BIRD (Photo credit: Mark Garvin).

STUPID FUCKING BIRD (Arden): A sidesplitting and insightful reinvention of Chekhov

Aaron Posner’s hilarious reinvention of The Seagull captures all of Chekhov’s laughable characters, absurdities of life, and self-references to the theater from a 21st-century perspective.

Mary Tuomanen, xx, and Ross Beschler in MACHINAL. Photo by Dave Sarrafian)

MACHINAL (EgoPo): Welcome to the machine

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

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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

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THE WOMEN (EgoPo): An engaging show turns a trifle into a treatise

Clare Boothe Luce saw her 1936 play as a critique of certain malicious denizens of Park Avenue. Director Lane Savadove sees more in it.

The 1990s called; they want their facade back.

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.

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2014/15 Critics’ Awards: The best in Philadelphia theater

Local theater writers vote for their favorites in twelve categories!

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HENRY V (PA Shakespeare): The king is but a man

While HENRY V contains two of Shakespeare’s most stirring speeches, smaller, less rhetorical moments are the more engrossing in Matt Pfeiffer’s staging for Pennsylvania Shakespeare Festival

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LULU’S GOLDEN SHOES (FLASHPOINT): A deft treatise on cruelty

This is a play that is constantly surprising, entrancing, and always a step ahead of expectations.

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A Woman’s World: A conversation with Brenna Geffers, Lane Savadove, and Adrienne Mackey on bringing a new focus on women to Philadelphia theater

For the theme of its 2015–16 season, EgoPo Classic Theater has announced it will honor American female playwrights: Lillian Hellman, Clare Boothe Luce, and Sophie Treadwell.

Jennie Eisenhower and Ben Michael in Arden Theatre's production of PASSION. Photo by Mark Garvin.

PASSION (Arden): Pretty anticlimactic

Excerpted from NealsPaper.com by kind permission. Stephen Sondheim’s musical PASSION comes to a pivotal point at which a young soldier, Giorgio (Ben Michael), suddenly becomes deeply enamored of the homely, lonely, Fosca (Liz Filios). It…

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HANDS UP (Flashpoint): From micro- to macro- aggressions

As the nation mourns the victims of over-zealous policing, Flashpoint Theatre Company’s HANDS UP attempts to make sense of this injustice.

Pearce Bunting and Catharine Slusar star as George and Martha in Theatre Exile’s WHO’S AFRAID OF VIRGINIA WOOLF (Photo credit: Paola Nogueras)

WHO’S AFRAID OF VIRGINIA WOOLF (Exile): A tour-de-force production of an American classic

The iconic three-act, three-hour marathon of marital warfare eviscerates the myth of the American family, revealing the drama and devastation behind the façade of our societal expectations

Liz (Kate Czajkowski) and Charlie (Scott Greer) in Theatre Exile's THE WHALE by Samuel D. Hunter. Photo credit: Paola Nogueras.

THE WHALE (Theatre Exile): Intelligence and transformation moving under the surface

Not many plays have this kind of unmistakable resonance. When you encounter such a play, you know it. With works of consequence you can feel the pull of intelligence and transformation moving under the surface.