Revisiting Philly theater history through the eyes of one of its finest critics.
More engrossing, more alienating, and more disciplined than its predecessor.
The simple tricks of the stage awe an audience of CGI-era children, showing that even something as normal as friendship can be magic.
New Paradise Laboratories’ O Monsters First Draft invites audiences to imagine the world separate from our human understanding of it.
A world-premiere stage adaptation of Mary Mapes Dodge’s 19th-century children’s story delivers a clear message about the importance of kindness and understanding.
Emilie Krause talks about her Fringe play, her work as an actor and devisor, and how she’s probably not a real-ife femme fatale.
Director Whit MacLaughlin employs both live actors and shadow puppets to convey both the darkness and magic of the popular story.
Whit MacLaughlin is going off the deep end with this one. Are you willing to jump in with him? New Paradise Laboratories’ handsomely crafted, meticulously acted, and totally weird production, is not easily accessible. Nothing much can be taken literally here, and the production doesn’t reward searching for specific meanings as it creates its own tilted world with its own skewed logic.
Rhrough minimal, absurd dialogue and highly stylized, disjointed movement, the ensemble-devised work evokes the boredom and bad behavior of a privileged vacationing family of film artists and their guests.
Part of an ongoing international tour, FringeArts’ 13-performance engagement of White Rabbit, Red Rabbit follows the playwright’s rules: A script waits in a sealed envelope. ach night, a different actor steps on stage and opens the envelope, reading the script aloud for the first—and last—time.