New artistic director Angel Corella was able to take full advantage of works by George Balanchine, Christopher Wheeldon and a premiere from resident choreographer Matthew Neenan, to start to show his retooling of the company.
View More PRODIGAL SON (PA Ballet): Ballet forward with Corella
Cline is a natural subject for the theater. Although the sad facts of Patsy’s marriage and difficult personal life are alluded to, ALWAYS… PATSY CLINE is more about a relationship a star was able to form with a fan than a full biography of the singer.
View More ALWAYS… PATSY CLINE (Bristol Riverside): Sweet dreams of a country superstar
There’s little inherent humor in a guy needing a kidney, but evidently no one told that to Michael Hollinger.
View More UNDER THE SKIN (Arden): The boundaries of the body and the limits of love: It’s complicated
in a medium fraught with love stories Shaw gleefully throws dirt into our eyes and says: yours is a sick obsession.
View More MISALLIANCE (IRC): Swift, honed, talky
Temple’s faculty show featured works by current dance faculty and guest artist Andrea Miller of Gallim Dance
View More Temple University Dance Faculty Concert: Branches, boxing rings, and the boldly political
The golden age of Hollywood. Bruce Graham certainly knew how to choose a snazzy setting when he wrote SOMETHING INTANGIBLE,
View More SOMETHING INTANGIBLE (Stagecrafters): Making Mickey Mouse
As a child of the sixties who used to go to “happenings” (our version of Fringe) and a devotee of several self-help modalities, I knew I had to go to EVERYTHING ONE IN THE DISC OF THE SUN, .
View More EVERYTHING ONE IN THE DISC OF THE SUN (Royal Osiris Karaoke Ensemble/FringeArts): Letting go of expectations and having fun
A must-see musical about “the change”.
View More MENOPAUSE (Bucks County Playhouse): 60-second review
VOICES is not just provocative; it is full of infectious hope that this time, united, we really will succeed.
View More VOICES OF A PEOPLE’S HISTORY OF THE UNITED STATES (Plays & Players): This time we have to succeed
EM Lewis accomplishes two simultaneous intentions—to tell a story theatrically and to spur perspective on guns.
View More THE GUN SHOW (Passage): Let me tell you some stories about guns
Alil Vardar’s THE DIVORCEES CLUB, a comedy from France, has crossed the Atlantic for its USA premiere at Penns Landing Playhouse.
View More THE DIVORCEES CLUB (Penns Landing Playhouse): Le divorce, c’est dommage
SIZWE BANZI IS DEAD is genuine work of theater and an authentic, authoritative look at a shameful period of South African history.
View More SIZWE BANZI IS DEAD (McCarter): Being a man in apartheid
It may be daunting for theaters to produce the original theatrical source for a well-regarded movie, but Lantern Theater Company’s DOUBT shows why some plays are worth reclaiming for the stage.
View More DOUBT: A Parable (Lantern): Some things are certain
Shanahan writes that her research focuses on new movement language that expands the notions of body beyond those prescribed by Western approaches to dance. N
View More THE DELICATE HOUR (Molly Shanahan/Mad Shak): 60 minutes from memory
Jen Silverman’s play tells the story of a young woman who has moved to London to escape the dangers of being a lesbian in South Africa.
View More THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): Western sympathies come up against African cruelties
PRIVATE LIVES, as written by Coward, is funny because it exposes the savagery that exists beneath the polished façade of the English upper class.
View More PRIVATE LIVES (Walnut): Who is being mocked?
A thrilling, thought-provoking, wonderfully heart-wrenching play now receiving its world premiere by InterAct Theatre Company.
View More THE DANGEROUS HOUSE OF PRETTY MBANE (InterAct): 60-second review
David Mamet’s amusing A LIFE IN THE THEATRE uses the simple interplay of two actors backstage at a repertory company, to talk about life outside the theater.
View More A LIFE IN THE THEATRE (Walnut): 60-second review
What occurs in a theater when sex happens? Ivo Dimchev’s FEST and Florentina Holzinger and Vincent Riebeek’s KEIN APPLAUS FÜR SCHEISSE present two very different looks.
View More Sex on Stage in FEST (FringeArts) and KEIN APPLAUS FÜR SCHEISSE (American Realness [NYC])
Campbell’s production allows us to see the raw humanity in these people—or, in many cases, the lack thereof.
View More CLOSER (Luna): The sex is neither sensual nor dirty, it’s tactical