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
GYPSY (Arden): A self-aware musical
Another take on the Arden’s GYPSY
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GYPSY (Arden Theatre): Mary’s turn
Martello shines in an otherwise confused production of this classic musical.
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WEST SIDE STORY (Media Theatre): 60-second review
2018 is Leonard Bernstein’s centenary, and theaters around the country are programming his greatest works in his honor. Delaware County’s Media Theatre has taken the…
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Theater in Sketch: PEACEABLE KINGDOM (Orbiter 3)
Rebecca Wright brought out the cute and cuddly demeanor of the cast while still driving home a deep dark message
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Utopias on the Outskirts: Celia Reisman’s suburban landscapes at Gross McCleaf Gallery
Celia Reisman transforms American suburbs into landscapes of the mind in four stages.
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BRIGHTON BEACH MEMOIRS (Act II Playhouse): The same old schtick
A play for people who need to be told how to feel.
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THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY (PTC): Just another queer tragedy
If you like your gay stories trite and tragic, this is the play for you.
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Local playwright makes good: An interview with Jacqueline Goldfinger
It’s been a banner month for local playwright Jacqueline Goldfinger.
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Theater in Sketch: THE MASSIVE TRAGEDY OF MADAME BOVARY (Curio)
The small cast at Curio Theatre play multiple roles in THE MASSIVE TRAGEDY OF MADAME BOVARY, a dramatization of Gustave Flaubert’s novel (read the Phindie…
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It Doesn’t Take a Man: Getting to the Bottom of A MIDSUMMER NIGHT’S DREAM
“It doesn’t take a man to play the role of Bottom,” says veteran actor Susan Wefel, who is playing one of Shakespeare’s most ridiculous fools. “It can be a woman.”
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What’s Going On: Interview with Jarran Muse of MOTOWN: THE MUSICAL
Jarran Muse talks to Phindie about preparing for his role as Marvin Gaye.
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Soloists of the Metropolitan Opera (Philadelphia Chamber Music Society): The cream of the crop
Philadelphia Chamber Music Society imported a deep bench of talent from New York for its final Sunday afternoon recital of the season.
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FRONTERAS (Almanac): An Homage to Whatshername and A Door in the Desert
Almanac Dance Circus Theatre ceaselessly invigorates audiences’ minds through their strength and ability to shape space using acrobatic feats and movement.
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RE/ACTION (Pennsylvania Ballet): Brilliant ballet by divine dancers
The company has gone through drastic changes since last season, some of which may have come with sorrow. Still they never stopped their devotion to ballet and to the Philadelphia art community.
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PEACEABLE KINGDOM (Orbiter 3): Can we live in peace?
A remarkable play navigating the deep waters of philosophy and the shallow waters of adults wearing animal costumes.
View More PEACEABLE KINGDOM (Orbiter 3): Can we live in peace?THE WIZ (South Philly High): The arts revived in Philadelphia Public Schools
With support from the Public Citizens for Children’s Picasso Project + Youth and the Curtis Institute of Music’s ArtistYear Fellowship Program, the arts are once again being revived in Philadelphia’s public school district.
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BUZZER (Theatre Exile): We wouldn’t come here if we didn’t live here
A provocative and dismaying story, conveyed through complex characters rather than through statistics and theories
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Inon Barnatan in recital (Philadelphia Chamber Music Society): Variation as the theme
Pianist Inon Barnatan stepped in for an ailing colleague, offering an exquisite and inventive recital that explored musical variations.
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SHUTTLEFISH (Eva Steinmetz): In the middle of the lake
It feels like when I’ve rowed out to the middle of a lake alone on a cloudy-still day and suddenly I realize I’m in the middle of the lake.
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[NYC] MOURNING BECOMES ELECTRA (Target Margin Theater): Getting closer to O’Neill
I feel like I know the value of experimental theater thanks to the folks at Target Margin.
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