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: Lindsay Smiling
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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FAIRVIEW (Wilma): 60-second review
Pulitzer winners aren’t always great theatrical works, but they are often very revealing about the times in which they won
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Winning a Pulitzer, Directing a Pulitzer-winner
2022 Pulitzer Prize winner James Ijames directs the 2019 Pulitzer winner Fairview at the Wilma.
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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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PASSING STRANGE (Wilma): Youth and rebellion
Youth is the time of our lives when the more adventurous among us follow French poet Arthur Rimbaud’s dictum that “everything we are taught is false.”
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PASSING STRANGE (Wilma): A worthwhile caricature of art
The performers leave a bright impression in a play that’s a caricature of life and art,
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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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Theater in Sketch: HOW TO USE A KNIFE (InterAct)
The InterAct Theater goes behind the scenes of a working kitchen
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HOW TO USE A KNIFE (InterAct): A sharp new play
Scene one is hilarious; scene two wipes the smile right off your face.
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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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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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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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THE TWO GENTLEMAN OF VERONA (Shakespeare in Clark Park): A nice night in the park
The production, though occasionally troubled, can still put a finger on the pulse of Shakespeare at its best.
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PETER AND THE STARCATCHER (Walnut): A wacky look at the backstory of Peter Pan
An outstanding ensemble recounts the backstory of Peter Pan in a madcap prequel with music.
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You might be done with the past, but the past ain’t done with you: Matt Pfeiffer on O’Neill’s ANNA CHRISTIE
Matt Pfeiffer discusses the Eugene O’Neill play ahead of PAC’s reading.
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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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METAMORPHOSES (Arden): A swim with the gods
This visceral production explains why humans act the way that we do, and reveres love as the most sacred of experiences.
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