Working with the First National Congress in 1776: Interview with director-choreographer Jennie Eisenhower, part 2
In this, the second of a two-part interview, we talk to Eisenhower about the history behind 1776: The Musical
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Jared Reed, a profile
“Every other actor I know had to convince their parents about why they should be in theater,” Reed says. “I never had that.”
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THE ELIXIR OF LOVE (Opera Philadelphia): Ever may the fruit be plucked
A uniformly wonderful cast provide bright, sunshiny fun in this lively, fast-moving, exuberant staging of Gaetano Donizetti’s romantic comedy.
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1776 And All That: Interview with director-choreographer Jennie Eisenhower
In this, the first of a two-part interview, we talk to Eisenhower about her background and work on the production.
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KRISSY FRAELICH (Arden Cabaret): 60-second review
Fraelich proves her mettle as a singer who can move as much as impress you.
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Summer Tailgating: A guide to upcoming new work for theater lovers, likers, and makers
A list of summer pre-season new work tailgating essentials to get us pumped for the 2016/16 theater season.
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THE CRIPPLE OF INISHMAAN (Curio): A light surface has a dark pull
Something funny across the surface with dark issues riding just under it.
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NOTHING TO SEE HERE (Found Theater Company): Experience the chaos
At times, the play feels like a bad dream, at others like an epiphany; at times confusion seems the primary sensation clouding the experience.
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THE RADICALISATION OF BRADLEY MANNING (Inis Nua): An unforgettable examination of a critical American subject
An intense and impactful bio-play on Bradley Manning makes its powerful American debut in a stellar production by Inis Nua.
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I WILL NOT GO GENTLY (1812): Rage, rage against the dying of the light
The production keeps audience members of all ages laughing with outrageous and suggestive songs by Jennifer Childs and Christopher Colucci.
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Meet Me On South Street: Previewing the fourth annual SOUTH STREET SPRING FESTIVAL
The city’s largest block party returns to South Street on May 7, with a celebration of food, drink, music, and art.
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FOREVER PLAID (Montgomery): Always on song
Of all the variety pieces that have become ensemble favorites, Stuart Ross’s musical remains the most durable.
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SPRING SERIES (BalletX): Ten Years On
BalletX has been around for ten years and they have much to celebrate.
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We Are All Chelsea Manning: Inis Nua actors on what THE RADICALISATION OF BRADLEY MANNING means to them
We asked the actors in this challenging production: Who is Bradley Manning to you?
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ALWAYS … PATSY CLINE (Walnut): Crazy for this show
Ted Swindley’s blend of a heartwarming bonding of two good ole’ gals and more than two dozen songs associated with singer Patsy Cline.
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Not Going Gently: 1812 rocks with an album and a play
Harriet Power sits on a stool at a lightly stocked semi-circle bar in the corner of a spacious music room a block from the Ninth…
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MACHINAL (EgoPo): Welcome to the machine
A dank, metallic, appropriately oppressive feel imbues this production of Sophie Treadwell’s 90-year-old play.
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Bodies in Translation: Week one, beginning at the beginning
A dancer for Trisha Brown Company details the experience of setting Brown’s work on the Pennsylvania Ballet dancers.
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Rapid Oscillations Between the Sacred and the Profane: An interview with Bhob Rainey
We caught up with Bhob Rainey to learn more about his background and his work on O Monsters First Draft.
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HOLLY’S DEAD SOLDIERS (Chris Davis, Bruce Walsh and Douglas Williams): 60-second review
Adapting Truman Capote’s Breakfast at Tiffany’s but not pulling verbatim from the novella, three playwrights have created a special experience in a Point Breeze row home.
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