Holidaze Wishes: Local artist Ashley Zimmerman talks about the seasonal Cirque Dreams show
A whimsical, Broadway-style musical infused with contemporary circus artistry
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COMPANY (Forrest Theater): Gorgeously musical if lacking in Sondheim’s subtlety
Sondheim’s genius makes ambivalence gorgeously musical, but his ironic, subtle sophistication is in short supply in this production
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Music of the Earth (Curtis Ensemble 20/21): A place in the natural world
Music’s relationship to the natural world is an unsteady one. On one hand, it seems contradictory to celebrate nature using artificial instruments that are, after…
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MADAME OVARY (Inis Nua): Theater or therapy?
Madame Ovary is a staged memoir about a young woman who survived cancer; it is the fourth female solo show opening just this week:
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[NYC] TRANSLATIONS (Irish Rep): Searching for clues
The danger with a Brian Friel play is charm. No stage Irishmen here at Irish Rep’s production, no comical drunkenness. Another danger, especially in a…
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THE ELEPHANT IN THE ROOM (Azuka): Impassioned and interesting sidestepping
In a world full of rooms which are full of elephants, a lot of sidestepping is required of us all.
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CAMP SIEGFRIED (Theatre Exile): An unlikely love story
Love happens, even in a setting dedicated to concentrated evil, as an American girl becomes a fierce Nazi uber-princess.
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WHAT THE CONSTITUTION MEANS TO ME (Arden): A witch’s cauldron of sometimes magic
Even the most hallowed document is no match for a teenage girl, as Heidi Schreck reveals in her play, What the Constitutions Means to Me.…
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Life in Oz: Interview with Celia Hottenstein in WICKED
Actress Celia Hottenstein has taken on the role of Glinda in the national tour of Wicked. The musical sensation is the 4th longest running Broadway…
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Singing Sondheim: Interview with Beth Stafford Laird in COMPANY
Beth Stafford Laird is no stranger to life on the road. The actress, who grew up in Wayne, PA, counts COMPANY as her fifth national…
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Winners of the Philadelphia Film Festival Awards
The Philadelphia Film Society announced the award winners for the 32nd Philadelphia Film Festival after the local premiere of Sly (a documentary on the career…
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Spectacular Strauss (Curtis Symphony Orchestra): Germanic overtures
Is it possible for a composer to be too German? Sure, the deeply problematic Wagner has long cornered the market on gratuitous Teutonic mythmaking, but it’s his…
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THE HOLDOVERS (dir. Alexander Payne): Philadelphia Film Festival review
Alexander Payne, purveyor of fine vibes, might be softening up.
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FINGERNAILS (dir. Christos Nikou): Philadelphia Film Festival review
Fingernails beckons anyone who has ever claimed love is torture and calls their bluff.
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[NYC] MERRILY WE ROLL ALONG (Hudson Theater)
This is vintage Sondheim, the unimaginable flop now on Broadway again, restored to its dazzling, heart-wrenching brilliance. Merrily We Roll Along has been called his most personal,…
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NO EXIT (Quintessence): A new translation of a hellishly absurd classic
Quintessence Theater’s founding artistic director Alex Burns, has written a new translation from the original French
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[NYC] PURLIE VICTORIOUS (Music Box Theatre): A Non-Confederate Romp Through the Cotton Patch
Ossie Davis’s brilliant and hilarious play is part vaudeville, part sermon. And if preaching is theater, theater is preaching. And the lesson is that “faith…
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ASSASSINS (Arden): A celebration of psychopaths
The wall of the F. Otto Haas Stage features pictures of targets and X’s for murdered presidents. Starting with John Wilkes Booth’s killing of Abraham…
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The Making of a King: Lucas Pastrana in ELVIS
Lucas Pastrana is preparing to make his Walnut Street Theatre debut in Elvis- A Musical Revolution. The actor, who is playing the role of Elvis,…
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TARTUFFE (Lantern): Delightfully over-the-top
Before he became a celebrated playwright, Jean-Baptiste Poquelan was a poor thing in a touring shoestring theater company. Although he had wanted to be a…
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