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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.
Two River Theater’s production of ‘Noises Off,’ Michael Frayn’s durable backstage comedy, works too hard and achieves too little. Cameron Kelsall reviews.
‘The Niceties,’ a thrilling new play at McCarter Theatre Center, considers academic freedom across a racial and generational divide. Cameron Kelsall reviews.
Harold Pinter’s ‘Betrayal,’ at Lantern Theater Company, hasn’t aged well. Cameron Kelsall reviews.
Mauckingbird Theatre Company puts a genderfluid spin on ‘Fallen Angels,’ an early Noël Coward hit, with middling results. Cameron Kelsall reviews.
‘Beautiful: The Carole King Musical,’ on tour at the Academy of Music, offers a compelling portrait of a music industry trailblazer, but largely ignores the social issues of its time. Ca…
Theater critic Cameron Kelsall considers his favorite productions of 2018, and realizes that revivals venturing beyond the canon were worthy tickets.
Tiny Dynamite opens its season with ‘The Audience Disturbs Marcel’s Bath Time and He Is Very Upset with You All’, but the play’s exploration of privacy culture does little to disturb…
‘Noura,’ at Playwrights Horizons in New York, uses Ibsen to explore the experiences of resettled Iraqi refugees in America. Cameron Kelsall reviews.
A subtle, surprising production of Lucas Hnath’s ‘A Doll’s House, Part 2’ at George Street Playhouse warrants a look from Ibsen sequel skeptics. Cameron Kelsall reviews.
11th Hour Theatre Company makes a strong case for the cult musical ‘Children of Eden.’ Cameron Kelsall reviews.
‘The Spitfire Grill,’ at Hammonton, New Jersey’s Eagle Theatre, offers a charming character study set to folksy music. Cameron Kelsall reviews.
Theatre Horizon’s outstanding production of ‘The Color Purple’ breaks new ground with familiar material. Cameron Kelsall reviews.
Scott Greer shines in ‘Every Brilliant Thing,’ back at the Arden, but the play itself only skims the surface of a difficult topic. Cameron Kelsall reviews.
Quintessence Theatre Group puts a high-concept gloss on ‘Oliver!’, but some of the musical’s more questionable themes remain unexamined. Cameron Kelsall reviews.
Curtis Opera Theatre’s ‘Sweeney Todd’ highlights the perils of classical companies adopting the musical theater idiom. Cameron Kelsall reviews.
In ‘A Doll’s House, Part 2,’ now at the Arden, Lucas Hnath distills the important issues of Ibsen’s great play into facile sound bites. Cameron Kelsall reviews.
Donald Margulies’s ‘Collected Stories,’ at Act II Playhouse, glibly explores the teacher/student relationship. Cameron Kelsall reviews.
'Fireflies,’ a New York premiere by Philadelphia-born playwright Donja R. Love, explores the desires of a black queer woman in the Jim Crow south. Cameron Kelsall reviews.
Philadelphia Theatre Company returns after a season-long absence with Lynn Nottage’s ‘Sweat,’ but the first fruits of Paige Price’s leadership feel frustratingly familiar. Cameron Ke…
Curio Theatre Company’s poignant ‘All My Sons’ smooths some of the rough edges of Arthur Miller’s overly symbolic play. Cameron Kelsall reviews.
Dominique Morisseau’s ‘Detroit ’67,’ at McCarter Theatre Center, offers a portrait of the Motor City’s past, present, and future. Cameron Kelsall reviews.
Vocal powerhouse Heather Headley chose the Philly POPS to debut her new solo show ‘Broadway My Way.' Cameron Kelsall reviews.
‘Broken Biscuits,’ a U.K. import from 1812 Productions, feels like an overly earnest after-school special. Cameron Kelsall reviews.
11th Hour Theatre Company’s concert staging of ‘Grey Gardens’ fails to capture the what makes its subjects so charming, maddening, and fascinating. Cameron Kelsall reviews.
EgoPo Classic Theater imports a South African ‘Desire Under the Elms’, with mixed results. Cameron Kelsall reviews.
Shakespeare Theatre of New Jersey presents an uneven staging of ‘Buried Child,’ Sam Shepard’s disturbing domestic drama. Cameron Kelsall reviews.