A script needs life breathed into it and that’s what happens with an inspired director, designers, and talented versatile actors.
View More MUCH ADO ABOUT NOTHING (Lantern): Still a joy
Tag: Anthony Lawton
FAITH HEALER (Lantern): Powerful storytelling
The Lantern Theater’s performance of Faith Healer, by Brian Friel is presented as four monologues that represent three points of view, those of Frank Hardy…
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THE PLAY THAT GOES WRONG (1812): Fall-off-your-chair hilarity
This is not the admiring smirk or a contemptuous Ha-ha!, but fall-off-your-chair, eye-mopping hilarity.
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The Tattooed Lady (Philadelphia Theatre Company): Tattoo as metaphor, tattoo as tattoo
Boisterous, joyful, defiant, and a little bawdy, the show may have a sketchy contraption of a plot, but you don’t go to a musical expecting Hamlet.
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TRAVESTIES (Lantern): A play of ideas married to farce
Tom Stoppard’s newest play Leopoldstadt is coming to New York, and once again he is being talked about as if he were the second coming…
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Lantern Theater’s Brave Return to Stage: A Man For All Seasons
What a brave return to live theater this production is! Lantern Theater Company gives us old-time drama and powerful theater, full of big ideas and complex language, rather than a bit of fluff to amuse or console us. With a top-notch cast and clever direction by Peter DeLaurier, it’s a heady three hours.
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Bringing Shakespeare to Life: Interview with director Matt Pfeiffer about SHAKESPEARE IN LOVE (People’s Light)
Matt Pfeiffer talks love of Shakespeare and SHAKESPEARE IN LOVE
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THE RESISTABLE RISE OF ARTURO UI (Lantern): 60-second review
A quick, masterful production that would make Brecht proud.
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MEASURE FOR MEASURE (Lantern): A Gchat review
Julius Ferraro and Christopher Munden discuss Lantern Theater’s production on Gchat.
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SING THE BODY ELECTRIC (Theatre Exile): Electricity sparks and glows brightly, then sputters
Is there more still left in the playwright’s head that didn’t make it to the stage?
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THE CRAFTSMAN (Lantern): Crafting a good story
Now in its world premiere from Lantern Theater, the latest play by Philly’s favorite playwright Bruce Graham is based on a true story. It’s a great story.
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Neal Zoren’s BEST OF PHILADELPHIA THEATER, 2016
Neal Zoren chose his favorite productions, directors, and actors from the last year.
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THE CAROLS (1812 Productions): Ghost of past holiday movies brought to comic life
A great entertainment present for Philly’s Christmas present.
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A MOON FOR THE MISBEGOTTEN (Walnut): 60-second review
The Walnut’s production reveals the bones of an American classic if never quite fleshes out the potential of the enduring masterwork.
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K.O. DelMarcelle: Maintaining versatility with an eye on the future
Barrymore Award-nominated actress and choreographer K.O. DelMarcelle talks about her past experiences, current life, and future aspirations.
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HENRY V (PA Shakespeare): The king is but a man
While HENRY V contains two of Shakespeare’s most stirring speeches, smaller, less rhetorical moments are the more engrossing in Matt Pfeiffer’s staging for Pennsylvania Shakespeare Festival
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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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UNNECESSARY FARCE (Act II): 60-second review
A stakeout goes awry with hilarious consequences in UNNECESSARY FARCE at Act II Playhouse.
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OUTSIDE MULLINGAR (PTC): Land, loss, and love in rural Ireland
John Patrick Shanley’s rom-com charmer is a play about feelings, expressed with an Irish lilt by two generations of neighbors in the Emerald Isle
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MACBETH (Pennsylvania Shakespeare Festival): A Minimalist Vision
Director Patrick Mulcahy takes a modernist approach to the Pennsylvania Shakespeare Festival’s production of MACBETH, with a 20th-century minimalist aesthetic that compels the audience to focus on the emotions and actions of the characters and the power of the playwright’s language. It’s stark and intense, and also, at times, oddly anachronistic and comical, performed in attire that suggests a peculiar mash-up of wartime Berlin and dance club chic, military and punk.
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