Due to the pandemic, it had been many months since I’d visited the Sedgwick Theater in Germantown. October 1 was opening night for The Chairs…
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Tag: E. Ashley Izard
THE SYNGE TRIPTYCH (Quintessence): Celebrating the common people of Ireland
In repertory with their solid production of PLAYBOY OF THE WESTERN WORLD, the company presents three of Synge’s one-acts as THE SYNGE TRIPTYCH.
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An Irish Masterpiece Still Shocking: Considering Synge’s PLAYBOY OF THE WESTERN WORLD
An extended consideration of the new Synge production from Mount Airy’s Quintessence Theatre.
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KING LEAR (Quintessence): England at his feet
As Lear, Robert Jason Jackson is “every inch a king.
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LONG DAY’S JOURNEY INTO NIGHT (Quintessence): Love and desire and hate
An excellent play well done.
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The Mother of All Roles: E. Ashley Izard plays Mary Tyrone in LONG DAY’S JOURNEY INTO NIGHT
E. Ashley Izard tackles one of the most daunting roles in the American canon.
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THE MANDRAKE (Quintessence): A Machiavellian sex satire
What could be so funny in a play written nearly 500 years ago? There is something for everyone to either laugh or balk at in this bawdy production of a play by Machiavelli.
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ROMEO AND JULIET (Quintessence): What fray was here?
In the eyes of director Alexander Burns this doomed romance never stood a chance.
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MACBETH (Arden): Rare emotion and rarer straightforwardness [critical mass review #5]
The elements which displease other writers are what makes this production a success, according to Michael Fisher in review five of the ongoing Critical Mass series.
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MACBETH (Arden): Numb from the neck down, well almost [critical mass review #3]
Jessica Foley gives this week’s critical mass take on MACBETH at the Arden, part of a new review series on Phindie.
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MACBETH (Arden): Fast but not furious [critical mass review #2]
Alexander Burns’ production of MACBETH at Arden Theatre Company is energetic and visually engaging, but it lacks ferocity and substance.
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MACBETH (Arden): Bloody bold and resolute [critical mass review #1]
Burns maintains the energy and pacing of his best work for Quintessence and takes full advantage of the Arden’s high production values to create an exuberant and understandable version of Shakespeare’s masterpiece.
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BEAUTY AND THE BEAST (Arden): An innovative retelling of a favorite fairytale
Director Whit MacLaughlin employs both live actors and shadow puppets to convey both the darkness and magic of the popular story.
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Kyle Cassidy Photo Essay: THE GLASS MENAGERIE (Commonwealth Classic Theatre)
Kyle Cassidy photographs Commonwealth Classic Theatre Company’s production of Tennessee Williams’s THE GLASS MENAGERIE, now onstage at the Off Broad Street Theatre.
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TRUE WEST (Theatre Exile): a rare, in-your-face take on a modern classic
Theatre Exile mounts new, dicey plays and modern classics—badass classics, that is, from outstanding contemporary playwrights like Tracy Letts, Martin McDonough, and in this case,…
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SHE STOOPS TO CONQUER (Quintessence): A contemporary 18th-century comedy
SHE STOOPS is an 18th-century comedy of manners and mistaken identities by Oliver Goldsmith. It is considered by many to be the most enduring of…
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HAMLET (Quintessence): Brevity is the soul of it
Hip, fast-paced, with a frat-boy-cool lead: these aren’t usually phrases to describe HAMLET. But Quintessence Theatre Group’s heavily edited version takes a bare bodkin to Shakespeare’s story of revenge and existential crisis in the state of Denmark.
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