REVIEW: At the Arden, Ragtime, Seen From a New Perspective
It’s as if the show has gone from the page to the stage… and back again to the page.
REVIEW: In Indecent, A Journey from Asch’s to Ashes
Paula Vogel’s well-meaning play is cast adrift in a sea of confusion and clichés.
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: Arden’s A Doll’s House, Part 2 Leaves the Door Ajar
This glossy but glib production is enjoyable but adds little of substance to Ibsen’s original.
REVIEW: An Abundance of Riches in Arden Theatre’s Once
In this enchanting show, the second act is the charm.
REVIEW: The Bluest Eye — From Page to Stage, Between a Rock and a Hard Place
The Arden’s Toni Morrison adaptation is too much handsome staging, too little Morrison.
REVIEW: In Arden Theatre’s A Doll’s House, the Original Fjord Maverick
139 years after its premiere, Ibsen’s masterpiece still feels razor-sharp.
REVIEW: Arden’s Peter Pan, Reinvented in an American Campground
Some darkly provocative ideas here keep bumping heads with the upbeat tone at the center.
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
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.
