The Lantern Theater’s performance of Faith Healer, by Brian Friel is presented as four monologues that represent three points of view, those of Frank Hardy…
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Category: Reviews
COST OF LIVING (PTC): A compelling new play, diminished
Diminished or not, it’s worth seeing for the understanding of people living with disabilities and the people who care for them.
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A RAISIN IN THE SUN (Bristol Riverside): An old fashioned play, carefully executed
Lorraine Hansberry wrote Raisin in the Sun in 1959, a bold play for its time. It takes a dark view of the progress of integration,…
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THE FLATLANDERS (1812 Productions): Couples theater can be couples therapy
Real-life married couple Scott Greer and Jennifer Childs play a fictitious couple in Bruce Graham’s newest play.
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AIN’T TOO PROUD: THE LIFE AND TIMES OF THE TEMPTATIONS (National Tour): Songs, fun, and nostalgia
This is Motown, and this cast is up to the task: good voices, great moves.
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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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[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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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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10 Days in a Madhouse (Opera Philly): This is not a time for quiet art
Director Joanna Settle wants you to know that 10 Days in a Madhouse is not just an opera. It is an “announcement … almost a…
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10 Dates with Mad Mary (Inis Nua): A real piece of work returns
10 Dates with Mad Mary is playing upstairs at a favored watering hole, Fergie’s Pub. The show was so popular last year that it’s back!
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TWELFTH NIGHT (Wilma): Beach blanket Bard
There’s a lot of Twelfth Night going around in the Philadelphia area, all different. The Wilma conjures a fresh seaside setting. A dock moves forward.…
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