Larry Shue’s 1979 farce has seen better days.
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Author: Cameron Kelsall
Cameron Kelsall has been writing about theater, classical music and the arts for more than ten years. He currently contributes to several Philadelphia-based publications, including Phindie, Broad Street Review and Talkin' Broadway, and reviews Broadway and Off-Broadway productions for Exeunt Magazine. Cameron also serves as a judge for the Barrymore Awards. You can follow him on Twitter @CameronPKelsall.
PROJECT DAWN (People’s Light): The hug or the hammer
A well-intentioned but dull play about an important legal program in Philadelphia.
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UNCLE VANYA (Quintessence): Tedious boring people
Good productions of Chekhov remind us of how vital his work still can be. Bad productions feed the narrative that his plays are dated, charmless, and inconsequential.
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HIR (Simpatico): We are all everything
Author’s note: Taylor Mac uses “judy” as a gender pronoun. This review reflects Mac’s preference. Taylor Mac’s work is unwieldy and absurdist, challenging and unsettling.…
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DOGS OF RWANDA (InterAct): We are witnesses
A gripping solo play that asks tough questions and rejects easy answers
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MAKING HISTORY (Irish Heritage Theatre): Make Ireland Great Again
Brian Friel the Irish Chekhov.
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Quincy Tyler Bernstine in INTIMATE APPAREL: Stalwart supporting actor gets chance to shine
Although her name may not sound immediately familiar, Quincy Tyler Bernstine has been a force in theater for nearly two decades.
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GYPSY (Arden Theatre): Mary’s turn
Martello shines in an otherwise confused production of this classic musical.
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WEST SIDE STORY (Media Theatre): 60-second review
2018 is Leonard Bernstein’s centenary, and theaters around the country are programming his greatest works in his honor. Delaware County’s Media Theatre has taken the…
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BRIGHTON BEACH MEMOIRS (Act II Playhouse): The same old schtick
A play for people who need to be told how to feel.
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THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY (PTC): Just another queer tragedy
If you like your gay stories trite and tragic, this is the play for you.
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Local playwright makes good: An interview with Jacqueline Goldfinger
It’s been a banner month for local playwright Jacqueline Goldfinger.
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Soloists of the Metropolitan Opera (Philadelphia Chamber Music Society): The cream of the crop
Philadelphia Chamber Music Society imported a deep bench of talent from New York for its final Sunday afternoon recital of the season.
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Inon Barnatan in recital (Philadelphia Chamber Music Society): Variation as the theme
Pianist Inon Barnatan stepped in for an ailing colleague, offering an exquisite and inventive recital that explored musical variations.
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WHITE (Theatre Horizon): Representation matters
Playwright James Ijames offers a searing examination of the commodification of black experience.
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Anthony Heald in GYPSY: Journeyman actor makes his way to Philadelphia
In a casting coup, Anthony Heald has come to Philadelphia to play Herbie in GYPSY at Arden Theatre.
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LA RONDINE (Curtis Opera Theatre): Puccini’s elusive swallows flies to Philly
Curtis Opera Theatre fails to make the case for LA RONDINE as a neglected classic.
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Marriages of Figaro: Opera Philadelphia stars are partners on and off stage
Layla Claire and John Chest appear as Mozart’s unhappily married Count and Countess weeks before their own nuptials.
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THE PRISONER OF ZENDA (Hedgerow Theatre): 60-second review
A sense of familiarity permeates THE PRISONER OF ZENDA, Matt Tallman’s adaptation of Anthony Hope’s novel of intrigue, adventure, and mistaken identity
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How should Philadelphia Theatre Company rebrand itself?
Cameron Kelsall has some ideas for the new executive director.
View More How should Philadelphia Theatre Company rebrand itself?