Even the most hallowed document is no match for a teenage girl, as Heidi Schreck reveals in her play, What the Constitutions Means to Me.…
View More WHAT THE CONSTITUTION MEANS TO ME (Arden): A witch’s cauldron of sometimes magic
Tag: Brian McCann
TWELFTH NIGHT (Lantern): Some are born great
Shakespeare wrote Twelfth Night (1599-1600), one of his few fantasy plays, immediately before he penned his incomparable Hamlet (1600-1601). As Artistic Director Charles McMahon describes…
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TWELFTH NIGHT (Lantern): Shall we set about some revels?
“Shall we set about some revels?” Yes! The battle begins: Lantern Theater Company opened its excellent and enjoyable production of Shakespeare’s Twelfth Night; soon to…
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Pulitzer Podcast Review: STREETCAR NAMED DESIRE at the Arden
Chosen by Committee podcasters Josh Herren and Christopher Munden tear themselves from the Pulitzer bookcase to see a live Pulitzer-winning show.
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GEM OF THE OCEAN (Arden): A thing of beauty
GEM OF THE OCEAN is about a lot of things, including race, mysticism, and murder.
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Theater in Sketch: MARIA MARTEN, or The Murder in the Red Barn (PAC)
Maria Marten or The Murder in the Red Barn by the Philadelphia Artist Collective found the silly in the serious
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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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Fringe in Sketch: I, PEASEBLOSSUM (Curio Theatre)
I, PEASEBLOSSOM was a great character study for me. I wanted to keep capturing the many sides of Brian McCann.
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I, PEASEBLOSSOM (Curio): 2017 Fringe review
I, PEASEBLOSSOM is a lark, even compared to its light-hearted inspiration, A Midsummer Night’s Dream.
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THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS & COUNT LEO TOLSTOY: DISCORD (Lantern Theater Company): Locked in limbo with literati
The Lantern team transforms an essentially all-talk playscript into an engaging, living piece of theater.
View More THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS & COUNT LEO TOLSTOY: DISCORD (Lantern Theater Company): Locked in limbo with literati
THE WHITE DEVIL (PAC): A bloody good thriller
PAC gives the Jacobin the veneer of a mid-20th century hard-boiler. Sketches by Chuck Schultz.
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CORIOLANUS (Lantern): Succeeding with a Shakespeare many companies wouldn’t attempt
With a strong cast and design wizards the Lantern has made CORIOLANUS a visceral, lively and thought-provoking experience
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WAITING FOR GODOT (Curio): Highlighting the hilarity of Beckett’s classic
Curio’s designers have created a bubble of no time, no place, in which anything or nothing can happen.
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ALL’S WELL THAT ENDS WELL (PAC): A mingled web well woven
PAC’s current production confirms its reputation as the best adaptor of classic works.
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Theater in Sketch: ALL’S WELL THAT ENDS WELL (PAC)
Sketches of William Shakespeare’s ALL’S WELL THAT ENDS WELL from Philadelphia Artists’ Collective.
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MAURITIUS (Act II): Feeling the philatelia
Act II Playhouse gets all dramatic with Theresa Rebeck’s MAURITIUS
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THE BIRDS (Curio): Terror takes flight
This adaptation by master Irish playwright Conor McPherson finds its horror in the claustrophobic relationships between its four characters
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HE WHO GETS SLAPPED (PAC): Spectacle and sadness at the circus
Leonid Andreyev’s classic tale of love and death in the Big Top is given original interludes of circus acts and live music to set the stage and mood.
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DEATH OF A SALESMAN (Curio): Bringing Arthur Miller to life
Curio’s production underscores the delusion and the rawness of the lives of the Loman family.
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BABY DOLL (McCarter): Not a girl, not yet a woman
In Tennessee Williams’s script for 27 Wagons Full of Cotton and the 1956 screenplay that derives from it, Baby Doll, everybody puts Baby in a corner.
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