There remains something compelling about ghost stories. Annie Baker’s JOHN demonstrates why: our past haunts just as well as any poltergeist.
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Category: Reviews
ROMEO & JULIET (Media): A Rose of any other name
The lights show a bare stage; the set is two dilapidated buildings with scaffolding. The curtains intermittently change from day to night with a transient…
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LAUGHTER ON THE 23RD FLOOR (Walnut): Funny, morbid, timely, and of a time
Theatergoers who long for the good ol’ days of pre-political correctness will love it. Everyone else, just enjoy the ride.
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Two by Tuomanen: MARCUS/EMMA (InterAct) and HELLO! SADNESS (FringeArts)
Two shows by Philadelphia writer Mary Tuomanen opened on consecutive nights last week, providing a singular opportunity to assess common threads tying together works by the author.
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Dance eXchange (BalletX): Handing wings to our future
Through performance, we how to keep our boundaries and respect each other, sharing what we love and cherish
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HAMLET (Bedlam Theater Company): “Shakespeare’s most underrated comedy” is at McCarter in Princeton
Bedlam’s imagination and the energy of their acting make their production stand out.
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CONSTELLATIONS (Wilma): Love in the multiverse
“We have all the time we ever had.”
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INFORMED CONSENT (Lantern): A strange kind of ethics
The play has a compelling point to make about the diversity of truth and mutual respect, but in the end, it’s difficult to take the argument seriously.
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AND THEN THERE WERE NONE (Allens Lane): This production of Agatha Christie’s classic stays close to the original
The real horror of Christie’s original ending sits in discord with the show’s campy beginning.
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LIZZIE (11th Hour): Lizzie Borden took an axe
This is what “stifled rage” sounds like. Not so stifled, but certainly enraged.
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THE HITCHHIKER’S GUIDE TO THE GALAXY, PART 2 (Hedgerow): Infinite fun!
Familiarity with the pan-galactic Hitchhikers Guide isn’t necessary to appreciate this cosmic comedy, just a general suspension of time, disbelief and willingness to have infinite fun.
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ENTER LAUGHING (Players Club of Swarthmore): Harvesting the humor in humiliation
Leave cynicism in the lobby and pick it up later
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AT HOME WITH THE HUMORLESS BASTARD (Annie Wilson): What’s left behind
The boundaries are always open.
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[nyc] THE MIKADO (NYGASP): Same music, less yellow-face
A vibrant, three-hour clever and engaging tale accompanied by its many classic show-stopping musical numbers
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Intimate Associations at IMMINENCE: Hollis Heichemer’s Stratigraphy of Color at Gross McCleaf
Hollis Heichemer’s Imminence exhibition at the Gross McCleaf Gallery presents 16 works by the artist – the majority on Mylar, two on canvas.
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Bad Title, Good Bloopers, and Brian Sanders: PA Ballet’s REVOLUTION
Lily Kind uses a recent PA Ballet program to look at what makes a ballet a ballet and what makes a dance a dance.
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WILDE TALES (Quintessence): Where the WILDE things are
Oscar Wilde once wrote to a friend that his two books of fairy tales were intended “partly for children and partly for those who have…
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[book review] MAD TO LIVE: Randall Brown’s Literary machines of compression
Flash fiction has established itself as a literary genre whose popularity only grows as our attention span shrinks
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BORTLE 8 (Tiny Dynamite): Set the controls for the heart of darkness
Chris Davis’s imaginative one-man play gets a deservedly professional staging as part of Tiny Dynamite’s A Play, A Pie, and A Pint series
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GREAT RUSSIAN NUTCRACKER (Moscow Ballet): Dance review
The Moscow Ballet delivers all that is expected from a first-rate Nutcracker, but there are no surprises.
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