REVIEW: The Wilma’s Blood Wedding Is A Marriage of Compromises
Having deconstructed Lorca’s play, this production can’t make it whole again.
THEATER REVIEW: TouchTones, The Phone Sex Musical—Sorry, Wrong Number
This limp, by-the-numbers musical at the Arden lacks not only an erotic charge, but even general interest
James Ijames: Breakout Bard (Philadelphia Magazine)
The actor and playwright, a mainstay of the Philly theater scene, is now making waves nationally.
In The Swallowing Dark at Inis Nua, Action is Subjegated to Storytelling
Lizzie Nunnery’s earnest but inert play lacks a sense of forward momentum.
Four Gay Men Ponder Their Cosmic Attachment to Barbra Streisand
A chat with the cast and crew of 1812’s Buyer & Cellar.
In Carousel at the Media Theatre, Life Lived Fully in a One-Horse Town
This production is small-scale, but often imaginative and satisfying.
In Arden Theatre’s Cabaret—Garter Belts, Nipples, and Oh, Yes… Nazis
The emphasis on louche sexual openness, meant to shock the audience, instead makes this production feel less dangerous.
O Festival Diary—Day V: The Wake World Is O17’s Glamorous Swan Song
David Hertzberg’s opera is dramatically pretentious, musically gorgeous, and very much An Event.
O Festival Diary—Day IV, Part II: War Stories
A sometimes-awkward evening that delivers in Lembit Beecher’s one-act premiere opera.
O Festival Diary—Day II: In O17’s Die Zauberflöte, the Magic is in the Technology
This imaginative, animated staging dazzles in some ways and comes up short in others.
reclining standards 