REVIEW: In Kill Move Paradise, We Shall Be Moved
James Ijames’ powerful play and Blanka Zizka’s fabulously theatrical staging must be seen.
REVIEW: In Mary Rose, J. M. Barrie in a Different and Haunting Neverland
A nearly-lost gem of a play gets a glowing revival by the gifted Philadelphia Artists Collective.
REVIEW: The Eccentricities of a Nightingale is a Brilliant Cabinet of Curiosities
An odd play in an idiosyncratic production. But when Tina Brock is onstage, the world is lit by lightning.
REVIEW: Do You Want a Cookie? Lingers Too Long at the Dessert Table
The Bearded Ladies’ show can be seen as a microcosm of the best and worst of Fringe.
REVIEW: In Lay Me Down Softly, There’s No Knockout
Some fine acting enlivens Irish Heritage Theatre’s production, but the show is punching above its weight.
REVIEW: PSF’s All’s Well That Ends Well is the Comfortable Side of Extreme
In positive and negative ways, this bold production idea proves surprisingly smooth sailing.
REVIEW: In Titus Andronicus, the Son Will Come Out, Tamora
Shakespeare Theatre of New Jersey’s energetic production makes a good case for the play without solving all its problems.
REVIEW: At the Pennsylvania Shakespeare Festival, the Poetic Richard II is made Prosaic
The crown may be hollow, but here it seems weightless.
REVIEW: In His Girl Friday at Hedgerow, Screwball Comedy That’s Trying Too Hard
Summon the ghosts of Rosalind Russell and Cary Grant at your peril.
REVIEW: Disney’s Aladdin at the Academy of Music—A Magic Carpet Ride with an Unscheduled Stop
This hugely energetic show favors spectacle over characters, but the audience doesn’t seem to mind.
reclining standards 