HINCKLEY (New City Stage): Life, Death, Celebrity
“Anything’s possible in a world where media rules all.” In 1981, John W. Hinckley Jr. fired into president Ronald Reagan’s entourage, hitting four men, including…
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CIRCLE MIRROR TRANSFORMATION (Theatre Horizon): All the world’s a stage, and all the men and women…
Life doesn’t imitate art as much as combine with it as Baker’s play, and Matthew Decker’s production of it for Theatre Horizon, sneaks up on you and moves you.
View More CIRCLE MIRROR TRANSFORMATION (Theatre Horizon): All the world’s a stage, and all the men and women…
The fault, dear Brutus, is Super Racism: Makoto Hirano Criticizes Lantern’s Julius Caesar
“Will it be in yellow face,” my friend asked when I told him about Lantern Theater Company’s decision to stage Shakespeare’s Julius Caesar in feudal Japan, when what the meant was “in kimonos with some Japanese screens and music” seemed somehow culturally tone deaf.
View More The fault, dear Brutus, is Super Racism: Makoto Hirano Criticizes Lantern’s Julius Caesar
THE SUIT (Prince): Balancing cruelty and kindness in pre-apartheid South Africa
If Philadelphia is a tightly wound city wearing a permanent scowl, Sophiatown is tightly wound with a broad smile. Sophiatown was a cultural hub for…
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ACCOMPLICE (Isis): A Comic Twist on the British Whodunit
The nature of Rupert Holmes’s ACCOMPLICE—a tongue-in-cheek thriller/sex farce/self- referencing spoof of the theater—is to surprise the audience with completely unexpected twists and turns in…
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From Callow Young Lover to Successful Playwright: Interview with Eric Conger, writer of BEAUTIFUL BOY
Eric Conger is leaving his mark as a successful new American playwright, whose four produced plays include BEAUTIFUL BOY, the story of a young man’s search for his birth parents. Henrik Eger caught up with Eric to find out more about BEAUTIFUL BOY, which just had its world premier production at The Walnut Street Theatre.
We caught up with Eric to find out more about BEAUTIFUL BOY, which just had its world premier production at The Walnut Street Theatre.
View More From Callow Young Lover to Successful Playwright: Interview with Eric Conger, writer of BEAUTIFUL BOY
HOTEL SUITE (Act II Playhouse): A 60-Second Review
HOTEL SUITE highlights the best of Neil Simon’s successful play-turned-movie series including PLAZA, CALIFORNIA, and LONDON SUITES. HOTEL SUITE is a fun, in-your-face, comical view…
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Philadelphia Theater Calendar: March 2014
March listings of Philadelphia theater.
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A NICE AND FRESH sendoff: John Rosenberg’s last show in Philadelphia
Phindie has been a long-term champion of playwright John Rosenberg and his Hella Fresh Theater. There are pretty much no companies in Philadelphia focused on full seasons of original work, certainly none of the caliber reached in Rosenberg’s best plays, 2013′s Hannah and 2012′s Alp d’Huez.
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Egg Cartons, Cotton Candy, and Living Sculpture
Cotton candy for all, toppling egg cartons and cell phones playing songs by P!nk and Ed Sheeran. Miller Rothlein’s newest work, From the Spot Where We/You/I Stand (Stood), invited the audience directly into the performing space. The invisible wall between viewer and performer was broken; human interaction was foregrounded and the viewer was given an active voice in the work.
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Tommie Waheed-Evans unveils Aubade
Escaping the winter blues with tour stops in Los Angeles earlier this month touring the James Brown Project, Philadanco’s dancers were back at their home studios in Philly last weekend, rehearsing upcoming performances for their spring series here and an ensemble of five women preparing for a ballet to be performed in Verizon Hall onstage with the Philadelphia Orchestra this weekend.
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Free Beer. Have I said enough? Scratch Night returns at FringeArts
For several years now, the FringeArts Scratch Night series has been an in-the-know favorite on the Philadelphia performing arts scene. Each Spring and Summer in the lead up to the Fringe Fest, the organization hosts a monthly event to showcase in the works performances by LAB fellow, Fringe favorites, and other local artists.
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The Incredible Shrinking Matt & Jacquie and exciting news from the world of improv
This weekend sees an enticing line-up of non-improv sketches at PHIT’s new home. The Incredible Shrinking Matt & Jacquie perform a variety of offbeat sketches.
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THE LADY FROM THE SEA (Egopo): Bare production showcases Ibsen’s mental gymnastics
Henrik Ibsen’s name is so thoroughly canonized in theater history that it’s easy to forget just how progressive the man was as a playwright. Works…
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Join the Battle: Team Sunshine & Immersive Arts Involvement
On their website, Team Sunshine Performance Corporation calls themselves “an unstoppable force for good.” Among other things, they love play fighting and projects that sound insane. In that vein is their current collaboration with Shakespeare in Clark Park, HENRY IV: YOUR PRINCE AND MINE.
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Photo Essay: Kyle Cassidy captures DANCING AT LUGHNASA (Curio Theatre)
Photographer Kyle Cassidy is a Philadelphia treasure. He has been documenting American culture since the 1990s, photographing goths, punks, cutters, politicians, metalheads, dominatrices, scholars, and…
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Life Between the Bones: The Mütter Museum presents its first-ever dance performance
The Mütter Museum, with its macabre glass cases of organs and bones, makes for an unlikely venue for a dance performance. However, this week only, choreographer Jae Hoon Lim takes on the challenge with his new work and master’s thesis, Life Between.
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JULIUS CAESAR (Lantern): Political persuasion in feudal Japan
If William Shakespeare was alive today he’d be a …. well, he’d probably be a poet and playwright, but he’d also make a damn good political speechwriter. The crux of his JULIUS CAESAR, now in an accessible production by Lantern Theater Company, comes in a speech following the title character’s assassination.
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Seven dancers. 200 Surveys. 4-inch Leather Boots. SORRY, I’M JUST HUMAN.
Sebastian’s dance-music-theater creations draw from each art without being confined to easy definitions. This Saturday’s Sorry, I’m Just Human marks a culmination of two years of choreographic, musical, and theatrical experimentation.
View More Seven dancers. 200 Surveys. 4-inch Leather Boots. SORRY, I’M JUST HUMAN.
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.
View More On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR