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‘An Infinite Ache’ at South Camden Theatre Company offers a stale portrait of what it means to be part of a couple. Cameron Kelsall reviews.
A strong season of local August Wilson productions continues with ‘Fences’ at University of Delaware’s Resident Ensemble Players. Cameron Kelsall reviews.
Two operas written nearly a century apart consider the familial wounds that time doesn’t heal. Cameron Kelsall reviews.
Extraordinary singing from several locally trained performers salvages Opera Philadelphia’s vulgar, high-concept ‘La Bohème.’ Cameron Kelsall reviews.
Sarah Ruhl’s moving family dramedy ‘For Peter Pan on Her 70th Birthday’ receives an uneven staging at People’s Light. Cameron Kelsall reviews.
The national tour of ‘Anastasia,’ at the Academy of Music, delivered on spectacle but not coherent storytelling. Cameron Kelsall reviews.
Gabriel Jason Dean’s ‘Heartland,’ at InterAct Theatre Company, gets awkwardly stuck between kitchen-sink drama and didactic political play. Cameron Kelsall reviews.
New York’s Classic Stage Company revives the legendary ‘The Cradle Will Rock’, by Philadelphia-born composer Marc Blitzstein. Cameron Kelsall reviews.
Philadelphia Artists’ Collective’s ‘Tis Pity She’s a Whore’ is revenge tragedy done rippingly right. Cameron Kelsall reviews.
‘How to Catch Creation’ launches an ambitious, important push for greater representation at Philadelphia Theatre Company, but Christina Anderson’s play feels frustrating and predictabl…
‘The Few’ considers the desolate lives of long-haul truckers, but Theatre Horizon’s production of Samuel D. Hunter’s play sets an inconsistent tone. Cameron Kelsall reviews.
EgoPo Classic Theater concludes its South African season with two perspectives on life under apartheid. Cameron Kelsall reviews.
‘Marvin’s Room,’ presented in a revival by Isis Productions, considers the emotional labor of familial obligation. Cameron Kelsall reviews.
'Fishskin Trousers,' the latest in Inis Nua’s Pop-Up Play in a Pub series, offers too many dangling threads that never fully coalesce. Cameron Kelsall reviews.
The national tour of ‘Miss Saigon’ arrives in Philadelphia awash in dated, Orientalist tropes. Cameron Kelsall reviews.
A fine central performance lifts ‘Kate: An Unexamined Life,’ at Walnut Street Theatre’s Independence Studio on 3, from the realm of biographical predictability. Cameron Kelsall reviews.
Curtis Opera Theatre takes a gutsy chance by grappling with the thorny sexual politics of ‘Don Giovanni,’ but R.B. Schlather’s revisionist production often misses the mark. Cameron Kel…
Exquisite singing and orchestral playing enlivens a by-the-numbers production of ‘Cosí fan tutte’ at AVA. Cameron Kelsall reviews.
Arden Theatre Company’s breathtaking production of August Wilson’s ‘Gem of the Ocean’ honors the past and looks ahead to the present. Cameron Kelsall reviews.
In ‘Gatz,’ Elevator Repair Service puts Fitzgerald on stage for eight sometimes fascinating, sometimes frustrating hours. Cameron Kelsall reviews.
Philadelphia Theatre Company’s ‘The Bridges of Madison County’ swells with treacly sentimentality. Cameron Kelsall reviews.
Curio Theatre Company’s ‘Three Sisters, by RashDash, After Chekhov’ interrogates theatrical traditions and gendered expectations. Cameron Kelsall reviews.
South Camden Theatre Company ably pairs ‘The Duck Variations’ and ‘The Dumb Waiter,’ early-career successes for David Mamet and Harold Pinter. Cameron Kelsall reviews.
The boundaries between fantasy and reality blur too frequently in Idiopathic Ridiculopathy Consortium’s ‘Dream Girl.’ Cameron Kelsall reviews.
‘Cana of Galilee,’ the latest DIY offering from Kensington’s Hella Fresh Theater, considers growth and grief with surprising power. Cameron Kelsall reviews.
EgoPo Classic Theater powerfully explores the doomed Prozorov sisters, and the future of South Africa, in Reza de Wet’s ‘Three Sisters Two.’ Cameron Kelsall reviews.
Temple Theaters revives ‘Fabulation, or, the Re-Education of Undine,’ an early Lynn Nottage play that nods to 19th-century sentimental fiction. Cameron Kelsall reviews.
The important themes of ‘Hype Man: A Break Beat Play,’ at InterAct Theatre Company, too often get lost in the musical shuffle. Cameron Kelsall reviews.
Timeless and timely, ‘Ragtime’ reinforces its status as a great American musical in Eagle Theatre’s fine production. Cameron Kelsall reviews.
Like its octogenarian protagonist, ‘On Golden Pond,’ now onstage at Bristol Riverside Theatre, shows its age. Cameron Kelsall reviews.
‘74 Seconds…To Judgment,’ at the Arden Theatre Company, joins the pantheon of political plays that ask tough questions and reject easy answers. Cameron Kelsall reviews.