479 stories by "Cameron Kelsall"
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 Kelsall re…
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.
'Once,' at Arden Theatre Company, offers a wistful, musical look at fleeting romance. Cameron Kelsall reviews.
'Shelter,' a Fringe Festival entry from Drip Symphony, offers an intriguing but ultimately wayward glimpse of artistic life. Cameron Kelsall reviews.
'Wolfcrush (a queer werewolf play)' continues On the Rocks' boundary-pushing tradition with a new take on the teen wolf. Cameron Kelsall reviews.
'Pamela's First Musical,' a long-gestating collaboration between the late Wendy Wasserstein and Cy Coleman, should have stayed in mothballs. Cameron Kelsall reviews.
'Hapgood,' at Lantern Theater Company, finds Tom Stoppard at his most self-consciously dense. Cameron Kelsall reviews.
The power of 'Kill Move Paradise,' James Ijames's bracing new play at the Wilma Theater, lies in its sad ambiguity. Cameron Kelsall reviews.
Bloated and self-indulgent, Trey Lyford's 'The Accountant' offers little insight on the banality of corporate culture. Cameron Kelsall reviews.
'Bon Iver Fights a Bear,' the latest work from playwright Douglas Williams, explores the hipster folk musician's origin story. Cameron Kelsall reviews.
The history of Jewish women takes center stage in 'Behold Her,' a Fringe Festival entry from Half Key Theatre Company. Cameron Kelsall reviews.
The history of Jewish women takes center stage in 'Behold Her,' a Fringe Festival entry from Half Key Theatre Company. Cameron Kelsall reviews.
'The Presented,' the latest one-person show from Chris Davis, gives off an old-school Fringe Festival vibe. Cameron Kelsall reviews.
Heiner Goebbels's 'Songs of Wars I Have Seen,' a curated Fringe Festival entry, awkwardly blurs the lines between music and theater. Cameron Kelsall reviews.
For this year's Fringe, Idiopathic Ridiculopathy Consortium puts an absurdist spin on Tennessee Williams's 'The Eccentricities of a Nightingale.' Cameron Kelsall reviews.
