REVIEW: Mamet’s Oleanna is an Old Whine in an Old Bottle
Nearly everything about America seems to frighten this playwriting snowflake.
REVIEW: In Betrayal, Empty Lives at Fancy Tables
We’ve moved on from Harold Pinter’s pregnant, tedious pauses. Who has the time?
REVIEW: The Ferryman, and Contemporary Theater’s Endangered Pleasures
Jez Butterworth’s epochal play provokes feelings of exhilaration and mourning.
REVIEW: Lantern Theater’s A Christmas Carol, Newly Minted
Anthony Lawton’s adaptation takes a familiar tale and electrifyingly gives it new life.
REVIEW: Network Emerges as a Study of Male Hysteria
Bryan Cranston’s brilliant performance aside, this adaptation proves even more problematic than the original film.
REVIEW: Two Houses, Not Alike in Dignity
A pair of current productions of A Doll’s House, Part 2 find very different qualities in Lucas Hnath’s cheeky sequel.
REVIEW: In Completeness at Theatre Exile, the Bumpy Road between Comedy and Science
Take my yeast—please!
PREVIEW: This Is The Week That Is Laughs at Our Crazy World
The 1812 Productions’ team on how and why they make funny in the Age of Trump.
REVIEW: Arden’s Every Brilliant Thing is a Tour de Force for Scott Greer
Philly’s love affair with this superb actor has never been more heartfelt.
REVIEW: At Quintessence, Oliver!, Twisted
Director Alexander Burns’ sometimes imaginative rethinking cannot redeem Lionel Bart’s awful musical.
