TURANDOT (Opera Philadelphia): Puccini at the Academy
Giacomo Puccini (born 1858) left his last opera, TURANDOT, unfinished at his death in 1924.
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HOW WE GOT ON (Azuka): A rapper’s delight straight outta the suburbs
Idris Goodwin’s play displays the same playful humor, poetic intelligence, and human insights as the early hip hop music it salutes.
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BREAKING THE WAVES (Opera Philadelphia): A Lars von Trier opera makes a splash
An operatic version of a Lars von Trier movie? Yes.
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RIZZO (PTC): A larger-than-life life onstage
An entertaining work about a compelling character, RIZZO displays pitfalls common to biographical drama.
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Rita Mahtoubian is not a Terrorist, and other film school shorts
The fourth season of Film School Shorts features Rita Mahtoubian is not a Terrorist, co-produced by Philly-raised director Julia Lerman.
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Philadelphia Theater Calendar: October 2016
Calendar of shows, October 2016.
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DEATH IS A CABARET OL’ CHUM: A GRAVEYARD CABARET (REV Theatre Company): 2016 Fringe review 94
REV Theatre Company let loose a quirky combo of fright-night-meets-kickline-cabaret for this year’s Fringe.
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MARTHA GRAHAM CRACKER CABARET (Martha Graham Cracker): 2016 Fringe review 93
Martha Graham Cracker brought the Fringe Festival to a close last Saturday with a marvelous set of compositions
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PHILADANCO IN CONCERT (Philadanco): 2016 Fringe review 92
This is a seasoned company that dances with maturity and intent.
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CONVERGENCE (DanceSpora): 2016 Fringe review 91
The Trenton-based dance company DanceSpora premiered two works at the Fringe Festival.
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PORTRAIT OF MYSELF AS MY FATHER (nora chipaumire): 2016 Fringe review 90
How do you become a man? A black man? A black African man?
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LE CARGO (Faustin Linyekula) 2016 Fringe review 89
“I am simply here to dance,” says Faustin Linyekula.
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MRS. WARREN’S PROFESSION (Lantern): Thought-provoking amusement
In a Philadelphia theater season with an auspicious beginning, this production of MRS. WARREN’S PROFESSION might be the most auspicious of all.
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Shakespeare Fringe Roundup: Misadventures among the classics
Toby Zinman gives bullet reviews of nine Shakespeare-ish shows in this year’s Fringe.
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KING JOHN (Revolution Shakespeare): 2016 Fringe review 88
You won’t get many opportunities to see KING JOHN; you’re unlikely to see one as well-rendered as Revolution Shakespeare’s.
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THE GAS HEART (Once More Theatre): 2016 Fringe review 87
Tristan Tzara called his play THE GAS HEART “the greatest three-act hoax of the century.”
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Fringe in Sketch: WROUGHTLAND
A land where fairy tales take a wicked turn, and the innocent and optimistic stories of happily-ever-after wrought into the harsh realities of life.
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RHIZOMAS (Ryuzo Fukuhara): 2016 Fringe review 86
Improvisation is an enticing, yet dangerous, approach to performing.
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Fringe in Sketch: JULIUS CAESAR. SPARED PARTS
Italian director Romeo Castellucci re-envisions his groundbreaking 1997 production Giulio Cesare as a series of “fragments” rearranged and positioned against each other
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WITH FLINT AND STEEL (duende): 2016 Fringe review 85
WITH FLINT AND STEEL, this year’s Fringe offering by experimental music and dance group duende, consists of seven separate pieces, each by a different choreographer.
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