Why Deaf Theater is a Form of Resistance
This film follows Daymond Sands, a Deaf theatre program director, preparing his first original showcase, highlighting the cast’s heartfelt effort to bring Deaf perspectives center stage
PLANT ME HERE (Brat): Sound and fury
Brat Productions’ PLANT ME HERE presents a saccharine dream of ruin and rebirth.
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GOD OF CARNAGE (Ritz): Funny fissures in the façade of civilization
In GOD OF CARNAGE, French playwright Yasmina Reza’s 90-minute award-winning black comedy, it doesn’t take long to demonstrate the old adage that the apple doesn’t…
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That’s Just Like Your Opinion, Man: RAW ONION REVIVAL (IRC) actors become their own critics
Every actor has experienced theater critics who got things a little wrong. Here’s their chance to peel their own onion.
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BILOXI BLUES (People’s Light): Coming of age in WWII
Though entertaining as a comedy, BILOXI BLUES contains an important message about fighting “the good war” abroad, while many struggles against injustice remain on the home front.
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DUST (Megan Bridge/FringeArts): All we are
Evidence of life. Enemy of the domestic goddess. Culprit of hay fever. The stuff we’re all destined for. DUST has connotations both mundane and eternal.
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THE THREE MUSKETEERS (Quintessence): Swordplay and horseplay combine in a breezy adaptation
As always with an Alexander Burns production, imagery is rife, props are creative, and jokes come as much from sight gags as from dialogue.
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The Artist’s Garden (PAFA): Watch the women bloom
A new exhibit steps into the Garden Movement of American art.
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CORIOLANUS (SHAKESPEARE ROULETTE) (Reject): Not your average tragedy
This chaotic opus reaches Monty Python levels of absurdity one would never associate with Shakespeare’s own overlooked tragedy reject.
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Philadelphia Theater Calendar: May 2015
January | February | March | April | May | June July | August | September | October | November | December The Jungle Book. By Greg Banks, based on the story by Rudyard Kipling. April 15-June 21, 2015. Arden Theatre Company, 40 N. Second Street. ardentheatre.org.…
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Thaddeus Phillips Brings the Drug Trade to FringeArts: Interview with the creative mind behind Lucidity Suitcase Intercontinental
The Incredibly Dangerous Astonishing Lucrative and Potentially TRUE Adventures of Barry Seal comes to FringeArts May 14–16, 2015. We interview creator Thaddeus Phillips.
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BECAUSE OF WINN-DIXIE (DTC): A child and her dog steal a charming musical
It’s an old show biz maxim, and true, that an adult cannot expect full attention if he or she is working on stage with a dog or a child.
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Reject Shakespeare: New theater company presents an impromptu CORIOLANUS with a drinking game
Reject Theatre Project launches this week with an inventive take on Shakespeare’s CORIOLANUS courtesy of Lesley Berkowitz.
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EX MACHINA (dir. Alex Garland): Movie review
Ex Machina is the first feature film directed by Alex Garland, and it’s a statement of purpose that follows gracefully upon the modus operandi he’s set for himself as a screenwriter and producer.
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JEFFREY DAHMER (BrainSpunk): A chilling conversation with a serial killer
BrainSpunk Theater’s premiere full-stage production will keep you spellbound, stunned, and sickened
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NOW NOW OH NOW (Rude Mechanicals): Role-playing and improv combine
The idea of combining improv with role-playing works very well since both rely on improvisation within certain parameters and they’re also both just a lot of fun.
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THE SUBMISSION (Quince): Things we dare not even think about
THE SUBMISSION revels in its unique brand of pot stirring, inflammatory, back and forth that has the characters talk openly and passionately about things most people seem reluctant to even think of—racism and homophobia.
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IN THE BLOOD (Theatre Horizon): Social satire in the service of compassion
Suzan-Lori Parks’ post-modern re-envisioning of Nathaniel Hawthorne’s The Scarlet Letter addresses the theme of destiny, the tragedy of poverty, and the societal need for compassion in a provocative in-your-face production
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GROUCHO: A LIFE IN REVUE (ActorsNET): There’s no such thing as a sanity clause
Off stage, David Newhouse looks nothing like Groucho Marx. In makeup, Newhouse’s transformation is astounding.
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WHO’S AFRAID OF VIRGINIA WOOLF (Exile): A tour-de-force production of an American classic
The iconic three-act, three-hour marathon of marital warfare eviscerates the myth of the American family, revealing the drama and devastation behind the façade of our societal expectations
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TO THE MOON (1812 Productions): An homage to The Great One, who was not so great after all
Whether you were a fan of The Honeymooners, or have never seen more than a clip on YouTube, this homage to The Great One reminds us of what comedy used to be like.
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