Philadelphia

REVIEW: In Inis Nua’s Our Few and Evil Days, Family History Goes Awry

What’s most unsettling here happens quietly in the shadows.

Michael Hollinger’s funny and clever play could use more gravity.

How do you like your Carmen? The role – and Bizet’s opera – contain multitudes.

In Michael Hollinger’s perplexing but enchanting play, getting there is the best part.

The vocal standards are high, and the pleasure of discovering new talent always exhilarating.

John Guare’s monumental Lydie Breeze trilogy ends movingly, if not entirely clearly.

A rare opportunity to see Tell Me on a Sunday reveals a good idea, flawed in the execution.

Quintessence Theatre’s production is problematic, but even the problems are interesting.

The Walnut Street production’s antic energy is both its strength and its weakness.

The playwright and ELLE Senior Staff Writer talks Trump, his new play, and Queen Maxine.