217 BOXES OF DR. HENRY ANONYMOUS (HSP/PUPCos/Painted Bride): Archival gold
An extraordinary story of conviction and courage among a cleverly conceived catacumbal graduation of gray archival boxes.
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SAAYUJA (THE MERGING) (Annenberg): A celebratory blend of Bharatanatyam and carnatic music
Part storytelling and part culture sharing, Saayuja was more than the merging of art forms, it was the intermingling of cultures and politics
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MOTH (Azuka): Another teen angst drama
While its opening moments certainly intrigue and amuse, MOTH loses steam as it chugs along.
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LITTLE WOMEN (Ebenezer Maxwell Mansion): A sincere and sentimental view of female life in Victorian times
An intimate site-specific adaptation of Louisa May Alcott’s beloved Victorian novel captures the humor and pathos of the book and the look and feel of the era.
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Set the Controls for the Heart of the Moon Jellies: Interview with a Philadelphia psychedelic band
Phindie’s recent review of a concert by Philadelphia psychedelic band The Moon Jellies attracted many readers, so we decided to follow it up by interviewing the band members.
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Bodies in Translation: Week Two: Trust Fails
Trisha Brown Company dancer Neal Beasley details the experience of setting Brown’s work on PA Ballet dancers.
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[podcast] Jen Childs on I WILL NOT GO GENTLY
Today’s podcast features artistic director, writer, and performer Jen Childs. We talk about the latest 1812 offering, I Will Not Go Gently where a stellar team of creatives breathe life into the faded career of “Sierra Mist”.
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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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