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
THE THREEPENNY OPERA (Villanova): Brecht played louder than the music
Republished by kind permission from Neals Paper. Kurt Weill’s insistent tingel-tangel score for THE THREEPENNY OPERA pervades the Vasey Hall stage, with horns and drum pumping…
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THE RAPE OF LUCRECE (Philadelphia Artists’ Collective): 60-second review
Dan Hodge’s one-man performance of Shakespeare’s poem RAPE OF LUCRECE is back! And it is not to be missed (again).
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SHADOW OF A GUNMAN (Irish Heritage Theatre): My great-grandfather—the shadow-less gunman
A tragic play gives this Irish American writer a newfound appreciation for his Irish heritage.
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A Theologian and the Nazis: Interview with Mary Ruth Clarke, playwright of BONHOEFFER’S COST (Beacon Theatre Productions)
We spoke to Mary Ruth Clarke her thought-provoking play based on an extraordinary German theologian who worked for the anti-Nazi resistance.
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THE JUNGLE BOOK (Arden): Merging morals with make-believe
Based on British author Rudyard Kipling’s series of exotic children’s stories inspired by his childhood in India, THE JUNGLE BOOK is now an engaging family play, celebrating its world premiere at Arden Children’s Theatre.
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HAVING OUR SAY… (Philadanco): Five dances resonate
Republished by kind permission from The Dance Journal. Philadanco had a roller-coaster winter when the heating system at their company studios blew out to the…
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TRUE STORY (dir. Rupert Goold): Movie review
Truth may be stranger than fiction, but trying to shove that truth back into a fabricated format (a movie) does not often work on its own.
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Lucrece’s Revenge: A Fringe masterpiece returns for a brief run at the Wilma
Hodge’s one-man adaptation of William Shakespeare’s epic poem returns to Philadelphia in a four-day copresentation with the Wilma Theater.
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Philadelphia Hosts World Dance Day
International Day has grown into a weeklong celebration of dance that commences on April 22 and finishes on April 29,
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BONHOEFFER’S COST (Beacon): 60-second review
A serious drama about the last year and a half of a short, fascinating life.
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UNDERNEATH THE LINTEL (Hedgerow): Following a shaggy dog to the library
One of the funniest and most entertaining of all shaggy dog stories.
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Lecture, Talkback, Slam! Upcoming events at The Philadelphia Shakespeare Theatre
Philly Shakes is offering audiences a mid-spring series of supplemental events on three Sundays in April and May.
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PENELOPE (Inis Nua): Love and death in a hot country
Enda Walsh’s existential thought-play treads a well-worn path, but it does so with intelligence and poetry.
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Come One Come All: Gathering of Northwest Philadelphia performing arts companies and artists on April 20
With Chestnut Hill’s Stagecrafters Theater, East Falls’ Old Academy Players, and Mount Airy’s Allens Lane Theater, there’s a surprising number of theaters in Northwest Philadelphia.…
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THE GOLDEN COACH (Stagecrafters): Farcical wheels of fortune
In THE GOLDEN COACH, a comedy, author and director Yaga Brady takes the audience back to 1770 in Lima, Peru. We meet the Spanish Viceroy,…
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GREEN DAY’S AMERICAN IDIOT (CTC): An electrifying production of a timeless punk-rock opera
CTC’s production, directed with full-out intensity by Michael Gray, captures all the rage, love, frustration, and uncertainty of rebellious youth on the verge of adulthood.
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THE HAIRY APE (EgoPo): The cage of modern life
The challenge for EgoPo director Brenna Geffers was to make a play which must have been theatrically and politically radical a century ago relevant to a 21st-century audience.
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THE SHADOW OF A GUNMAN (IHT): Humor and horror in the Irish homeland
Set during their fight for independence, this controversial two-act tragicomedy merges realism with poetry for an insightful and funny view of the Irish.
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MACBETH (Arden): Rare emotion and rarer straightforwardness [critical mass review #5]
The elements which displease other writers are what makes this production a success, according to Michael Fisher in review five of the ongoing Critical Mass series.
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“My greatest challenge as a director on Shakespeare”: Alex Burns on language in MACBETH (Arden), part 2
“The magic of Shakespeare is not in his plots. Shakespeare’s genius is his poetry,”
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