There’s a lot of Twelfth Night going around in the Philadelphia area, all different. The Wilma conjures a fresh seaside setting. A dock moves forward.…
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Tag: Justin Jain
TWELFTH NIGHT (Wilma): Foolery shines everywhere
“Foolery, sir, does walk about the orb like the sun; it shines every where.” Leaving Copernicus aside, the Fool’s wry remark is an apt description…
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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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KISS (Wilma): What does it mean when someone else is representing you?
A play is about acting as well as the political act of making theater as well as about getting it wrong through cultural appropriation
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Lightning Rod Special presents SUPERHOST, a Halloween audio thriller
Listening party on October 27th and available for streaming on Lightning Rod Special’s website starting October 28th
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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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DANCE NATION (Wilma): What it means to be ferociously pubescent
The constant menace of teenage ambition hums under the entire production.
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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
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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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BLOOD WEDDING (Wilma): Movement in the veins
Lorca’s BLOOD WEDDING makes a fitting vehicle for the Wilma Theater in-house troupe.
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THESE TERRIBLE THINGS (Berserker Residents): 2017 Fringe review
The Berserker Residents may parody the conventions of theater, but they clearly believe in its power
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WHITE (Theatre Horizon): Representation matters
Playwright James Ijames offers a searing examination of the commodification of black experience.
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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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YOU FOR ME FOR YOU (Interact): Sisters in different worlds
This thoughtful production changes how we see the world and ourselves
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IT’S SO LEARNING (Berserker Residents): Will this be on the test?
The Berserker Residents take us back to school
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IT’S SO LEARNING is Even Berserker!
Republished by kind permission from FringeArts. Bradley Wrenn, co-founder of The Berserker Residents, talks about how the company is revamping their 2015 Fringe hit It’s So Learning…
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INFORMED CONSENT (Lantern): A strange kind of ethics
The play has a compelling point to make about the diversity of truth and mutual respect, but in the end, it’s difficult to take the argument seriously.
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THIS IS THE WEEK THAT IS: THE ELECTION SPECIAL (1812 Productions): Yuugely funny
Ho boy, it’s been quite the election cycle. Thankfully, Philadelphia has 1812 Productions to ease the pain with its annual satirical show.
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AN OCTOROON (Wilma): A melodrama, a social commentary, an experience
Beyond being entertaining and thought-provoking, Branden Jacobs-Jenkins’s AN OCTOROON is an experience
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