A new musical reintroduces the famous crime duo.
View More BONNIE AND CLYDE (11th Hour Theatre Company): Crime spree sung right off the page!
Author: Kathryn Osenlund
Kathryn Osenlund, Theater aficionado. Reviewer for Phindie.com. ATCA member (American Theater Critics Assn.) Professor Emeritus Communications and Theater, Holy Family University. Instructor Philadelphia Police Academy: Police role plays and public speaking. Visiting Lecturer Oxford University. Instructor in Warsaw, Poland. NEA Fellow: Arts Journalism. Barrymore Award Nominator. National Critics Institute, Eugene O’Neill Theater Center. Education: Villanova, PhD in Media; Temple University, MA in Theater; UArts, BFA in Film.
COMPLETENESS (Theatre Exile): Algorithms and geek romance
Seduction by examples of computational intractability
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KING KONG (Broadway Theatre): Going ape on Broadway
We like our fantasies to be readily identifiable as such and to be realistic in their details.
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LONG TROUBLE (Svaha Theatre Collective): 2018 Fringe review
There’s a lovely simplicity in Elise D’Avella’s staging of the tragic story.
View More LONG TROUBLE (Svaha Theatre Collective): 2018 Fringe review
TRUE WEST (Subscension): 2018 Fringe review
This little company has heft and promise. The Fringe has given them the opportunity to launch and they’ve certainly taken advantage of it.
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THE PRESENTED (Chris Davis): 2018 Fringe review
Chris Davis has come into his own as an exuberant and irresistible Rumpelstiltskin who spins his own life’s straw into gold.
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FLY EAGLES FLY (Tribe of Fools): 2018 Fringe review
With life and football you have to push through it all to get to the joy.
View More FLY EAGLES FLY (Tribe of Fools): 2018 Fringe review
ECCENTRICITIES and random notes on Tennessee Williams
Tennessee Williams slept with my boyfriend’s father. I love saying that at a party.
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SONGS OF WARS I HAVE SEEN (Heiner Goebbels): 2018 Fringe review
An imaginatively textured musical performance in which music, sounds, and speaking are of a piece
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FUN HOME (Arden Theatre): LOL misery
The Bechdel family has a funeral home (dubbed Fun Home by the kids) and also a not-fun family home.
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HOPE AND GRAVITY (1812 Productions): “Even the lightest things come crashing back down to earth.”
There are many good comedies out there, but not many where the weight of tragedy crests and wanes beneath the laughter.
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SING THE BODY ELECTRIC (Theatre Exile): Electricity sparks and glows brightly, then sputters
Is there more still left in the playwright’s head that didn’t make it to the stage?
View More SING THE BODY ELECTRIC (Theatre Exile): Electricity sparks and glows brightly, then sputters
THE PRODUCERS (Bristol Riverside): Bialystock & Bloom, mini-Madoffs of the theater world
Mel Brooks’s THE PRODUCERS has gone from Screen Comedy to Musical Comedy to Screen Musical Comedy and back to the stage again.
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COPENHAGEN (Lantern): Observable quantities
I suspect that among the reasons COPENHAGEN has been so successful is that it invites us to believe that we are smarter than we actually are
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BASKERVILLE: A SHERLOCK HOLMES MYSTERY (Walnut Street): Ken Ludwig’s version turns the story on its head
An ancestral manor, a family curse, a fiend: Ken Ludwig’s version turns this Sherlock Holmes story on its head.
View More BASKERVILLE: A SHERLOCK HOLMES MYSTERY (Walnut Street): Ken Ludwig’s version turns the story on its head
MY FAIR LADY (Quintessence): A splendid holiday gift
A jubilant mix of beautiful music and songs, dancing, magic, social politics… and elocution
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[NYC] MUST (The Theater at St. Clements): 60 second review
A desolate memory play
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TOUCHTONES (Arden): This must be a bad connection
Naughty and nice collide in TOUCHTONES, a musical fantasy in world premiere at the Arden.
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BUT NEXT NOT THIS (Hella Fresh Theater & Hum’n’bards): A bi-coastal experiment
A great idea for an experiment, but I’m not convinced that the reality plays out as well as the concept.
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ALCHEMIST (Chris Davis & Mary Tuomanen): 2017 Fringe review
A friend “knows who you are and forgives you for it.”
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