Changes are afoot at the Wilma Theater, with Blanka Zizka moving on from her role as sole artistic director after forty years in charge of the company.
View More Considering Wilma’s Next Chapter: Blanka Zizka is joined by three co-directors
Tag: Blanka Zizka
DESCRIBE THE NIGHT (Wilma): Put on your thinking caps
Put on your thinking cap if you’re thinking of going to see DESCRIBE THE NIGHT
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THERE (Wilma): 2019 Fringe review
THERE is not a place on Earth’s map. It is not a poem recital, nor is it a play.
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THERE (Wilma): 2019 Fringe review
Visually arresting and aurally haunting, THERE makes rarefied language solid and visceral
View More THERE (Wilma): 2019 Fringe review
A Welcome to the International Artists at the 2019 Fringe Festival
Henrik Eger greets international Fringe artists.
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Philadelphia theater through the eyes of J. Cooper Robb, Part 2: 2004
Revisiting Philly theater history through the eyes of one of its finest critics.
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ROMEO AND JULIET (Wilma): Wherefore do Romeo and Juliet?
What about Shakespeare do we want kids to like?
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KILL MOVE PARADISE (Wilma Theater): 2018 Fringe review
There’s no fourth wall here: the audience is complicit in the consideration of POC men who lost their lives to judicial murder
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PASSAGE (Wilma): Love and death in Country X
The way to get an audience to ask itself profound questions about a work is not by asking the audience profound questions about the work.
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Theater in Sketch: PASSAGE (Wilma Theater)
PASSAGE reminds sketch artist Chuck Schultz of a painting at the Philadelphia Museum by Sir Lawrence Alma-Tadema.
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How should Philadelphia Theatre Company rebrand itself?
Cameron Kelsall has some ideas for the new executive director.
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ADAPT! (Wilma): On the brink of dawn
Blanka Zizka boldly steps forth as both debut playwright and seasoned director of the semi-autobiographical ADAPT!
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WHEN THE RAIN STOPS FALLING (Wilma): How a hard rain’s a gonna fall
Using the endtimes as a backdrop, Andrew Bovell uses the drama within a family’s history as a parallel for the turbulence in humanity’s.
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Commedia dell’Arte: Highlights from the “Master Class with Antonio Fava”
Experiences in a master class with maestro Antonio Fava
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How Commedia dell’Arte Maestro Antonio Fava influenced my teaching and my life: Interview with Craig Tavani
Maestro Antonio Fava has taught Commedia dell’Arte to quite a few Philadelphia-area actors and directors, including Immaculata University instructor Craig Tavani.
View More How Commedia dell’Arte Maestro Antonio Fava influenced my teaching and my life: Interview with Craig Tavani
THE HARD PROBLEM (Wilma): Stoppard makes intelligible intelligence look easy
Tom Stoppard again demonstrates his uncanny ability to make dense philosophical discussions intelligible and dramatically sensible.
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What Can The Wilma Do With $10 Million?
A new $10 million in funds includes money for an updated facade, a cafe space, and a 10-member artistic company.
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Picks for Best in Theater, 2014/15, by Philly Reviewer Neal Zoren
Each year, Philadelphia-based reviewer Neal Zoren announces his choices for the Helen and Morris Zoren Awards for World Theater. A fair number of the picks on Neal’s list are performers and productions from the Philadelphia area.
View More Picks for Best in Theater, 2014/15, by Philly Reviewer Neal Zoren
Moonwalking on the Moon: Lindsay Smiling on Michael Jackson, Philly theater, and the inaugural production by Orbiter 3
This week marks a landmark in independent theater in Philadelphia: the inaugural production by Orbiter 3, a new producing playwrights collective. Over the next three years,…
View More Moonwalking on the Moon: Lindsay Smiling on Michael Jackson, Philly theater, and the inaugural production by Orbiter 3
ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Wilma): A contemporary classic, in three parts
Tom Stoppard’s ROSENCRANTZ AND GUILDENSTERN ARE DEAD is perhaps the most ubiquitous work of postmodern drama.
View More ROSENCRANTZ AND GUILDENSTERN ARE DEAD (Wilma): A contemporary classic, in three parts