Krissy Fraelich’s riveting central performance blends with the perfection of Geoffrey Goldberg’s direction to make this production not only powerful and poignant.
View More NEXT TO NORMAL (Media Theatre): Powerful and poignant
Category: Reviews
MR BURNS (Villanova): The future in three acts
What would 21st-century American culture look like if all we knew about it was told generations after an apocalypse
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HEISENBERG (Delaware Theatre Co.): 60-second review
What? Him again? Yes and no.
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TIME REMEMBERED (IRC): What is love and how do we kill it?
The IRC prove once again that they are able to pluck strange fruits out of theatrical history and serve them up ably.
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WAITING FOR GODOT (Quintessence): Really absurd
Quintessence Theatre Group’s WAITING FOR GODOT strikes a balance between humor and pathos, between realism and ridiculousness.
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NINETEEN MOVEMENTS FOR UNACCOMPANIED CELLO (Scott Ordway): Sounding the Chestnut Hill Skyspace for a world premiere
The premiere of composer Scott Ordway’s Nineteen Movements for Unaccompanied Cello took place in the perfect setting – the James Turrell Skyspace in the Chestnut Hill Friends Meeting.
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A dilettante at large: WRITTEN ON SKIN (Opera Philadelphia)
Philadelphia’s premiere drama critic, Toby Zinman knows her theater. Opera, not so much. Here’s her dilettante review of Opera Philadelphia’s WRITTEN ON SKIN.
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DANCES TO AMERICAN MUSIC (Mark Morris Dance Group and Music Ensemble): A breath of familiarity
Mark Morris Dance Group and Music Ensemble returns to Philadelphia after 14 years with Dances to American Music,
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LYDIE BREEZE PART ONE: COLD HARBOR (EgoPo): Ambitious, sprawling, but emotionally hollow
COLD HARBOR is fast-paced and skillfully produced, with a large, stylistically diverse cast, but at its emotional core it is stiff and distant.
View More LYDIE BREEZE PART ONE: COLD HARBOR (EgoPo): Ambitious, sprawling, but emotionally hollow
REALLY (Theatre Exile): Camera obscura
Discomfort is the name of the game here, but to what purpose?
View More REALLY (Theatre Exile): Camera obscura
THE HUMANS (Walnut St): A nauseatingly annoying play, but maybe that’s the point
THE HUMANS is a difficult play to like or to watch
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MORNING’S AT SEVEN (People’s Light): A sorority of acting talent
A delightful comedy that shows an evening and morning in the lives of four sisters
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SENSITIVE GUYS (InterAct): Satirizing the dialectic of sex
What’s being satirized in this social satire? Good question, with several answers.
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A DOLL’S HOUSE (Arden): Ibsen for our times
A timelessly relevant damnation of our human falsehoods is also an au courant commentary on sexism.
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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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PASSING STRANGE (Wilma): A worthwhile caricature of art
The performers leave a bright impression in a play that’s a caricature of life and art,
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Theater in Sketch: MORNING’S AT SEVEN (People’s Light)
Paul Osborne’s 1939 comedy gets a new production in Malvern, PA.
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URBAN MEADOW (BodyVox): Keeping Philadelphia weird
Comprised of twelve live pieces and two short films, URBAN MEADOW celebrates BodyVox’s 20th Anniversary and the variety of work they produce.
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VISUAL MUSIC (Network for New Music at the University of the Arts): Art in music
Out of the ordinary, but a delight to experience.
View More VISUAL MUSIC (Network for New Music at the University of the Arts): Art in music
YOU CAN’T TAKE IT WITH YOU (Allens Lane): Zany homespun fun
A visit with the eccentric Sycamore family is always a warm adventure in zaniness
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