HIGH SOCIETY (Walnut): A curious Philadelphia Story
A curiously performed version of Arthur Kopit’s unnecessary rearranging and cheapening of The Philadelphia Story.
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What Theater Can Do that TV Can’t
The success of TV is based on its ability to entertain. Theater must be its own medium. It must say new things, create new forms, eschew entertainment in order to challenge, and let audiences turn on their minds.
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The Pope, the Writer, and the Saint: Catholic theater for Pope Francis’s visit to Philadelphia
Audiences in town to see the Pope are treated to a play by a Philadelphia playwright about a Philadelphia saint.
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Sowing a Parable for our Times: Octavia Butler’s PARABLE OF THE SOWER as a concert
Octavia Butler’s dystopian future seems especially relevant. Can we find respite in comradeship and song?
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BABY DOLL (McCarter): Not a girl, not yet a woman
In Tennessee Williams’s script for 27 Wagons Full of Cotton and the 1956 screenplay that derives from it, Baby Doll, everybody puts Baby in a corner.
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MAURITIUS (Stagecrafters): Stamp of suspense
Theresa Rebeck’s thriller with a philatelical twist leaves a stamp of suspense on an appreciative audience.
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Pope fever continues with ALTAR CALL
Random Acts of Theater and the Liberty Education Forum are riding the wave of Pope fever with the Philadelphia premiere of Melissa McBain’s ALTAR CALL,
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EURYDICE (Villanova Theatre): Death is a continuation of life
Death, as experienced in director James Ijames’s comic yet movingly evocative production of Sarah Ruhl’s play, is a continuation of life.
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BLACK MALE REVISITED (XPN/ Jaamil Kosoko): Fringe review 71
The dark space at the headquarters of Fringe Arts hosted a kaleidoscope of blackness. Sad blackness. Angry blackness. Rescued blackness. Incarcerated blackness. Lost blackness. Dead blackness.
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THE EXTRA PEOPLE (Ant Hampton): 2015 Fringe review 71
A commentary on technology, as well as a platform for cultural and philosophic questions
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ALL MY SONS (People’s Light): A treat from the golden age of American theater
Seeing a naturalistic play by one of the masters of the form, Arthur Miller, with a cast and set that are as realistic and as authentically moving as the text, is a rarity and a treat.
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BELLOWS FALLS (Leah Stein Dance Company): 2015 Fringe review 70
Stein makes you notice things about the Iron Factory that you would not have noticed before
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PHOTOGRAPH 51 (Lantern): Discovering the secret of life
The backstory of Rosalind Franklin’s seminal image that led to the discovery of the double-helix structure of the DNA molecule is examined in an engrossing Philadelphia premiere.
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1.5 Million Men Missing: New play looks at “five to ten” and the devastation of the prison system
There are 1.5 million black men missing from American homes. V TO X examines who and where they are.
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SECOND SKULL (Sothis Music-Theater Ensemble): 2015 Fringe review 69
Sothis devises experimental theater to call attention to collective and conscious freedom.
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BOING! (Vervet Dance): 2015 Fringe review 68
The Philadelphia Fringe Festival aims to celebrate innovation and creativity, and Vervet Dance certainly lived up to that goal
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WALLS (Darcy Lyons): 2015 Fringe review 67
Covering everything from a cell wall to the Great Wall of China, WALLS explores of how walls—and the acts which build and destroy them—shape lives
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SOUL PROJECT (David Zambrano): 2015 Fringe review 66
An intensely physical performance rooted in an extreme manifestation of experience, SOUL PROJECT, is able to create a powerful reaction of joy and passion
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TRACES OF SHE (Evalina Carbonell, Meredith Stapleton, Kat J. Sullivan): 2015 Fringe review 65
Three works focused on “the female embodied”.
View More TRACES OF SHE (Evalina Carbonell, Meredith Stapleton, Kat J. Sullivan): 2015 Fringe review 65
When an actor cannot move, the director has to jump in: Tina Brock is the new KING in the sold-out final performances of Ionesco’s classic
Director Tina Brock shares her thoughts as she steps into the lead role for IRC’s final performances of EXIT THE KING
View More When an actor cannot move, the director has to jump in: Tina Brock is the new KING in the sold-out final performances of Ionesco’s classic