351 stories by "Mark Cofta"
Ayad Akhtar's 'Disgraced' at McCarter explores current issues that are now overshadowed by the presidential campaign. Mark Cofta reviews.
Curio Theatre's production of Conor McPherson's 'The Birds' is a spooky apocalyptic tale just in time for Halloween. Mark Cofta reviews.
The Abbey Theatre's tour of 'The Plough and the Stars' makes an Irish classic relevant for today's American audiences. Mark Cofta reviews.
A feminist approach renews the old thriller 'Gaslight' at Hedgerow Theatre. Mark Cofta reviews.
InterAct Theatre Company's production of George Brant's 'Grounded' delivers disturbing and unusual insights about modern war. Mark Cofta reviews.
'The Mountaintop' at People's Light & Theatre Company takes us to exciting theatrical places, beyond an historical portrait. Mark Cofta reviews.
The Irish Heritage Theatre's 'Molly Sweeney' is the right play in the right space for this young company. Mark Cofta reviews.
Azuka gets on great with a celebration of early rap and teenage rebellion, Idris Goodwin's 'How We Got On.' Mark Cofta reviews.
October theater gets busy, including a variety of adaptations and annual political traditions staring down a stranger-than-fiction election season.
Rock and roll with 'King John,' Revolution Shakespeare's post-apocalyptic adventure. Mark Cofta reviews.
Warren Adler's recycled novel and movie 'The War of the Roses' celebrates excess excessively. Mark Cofta reviews.
In Lantern Theater's production, G. B. Shaw's 'Mrs. Warren's Profession' still works as social commentary and engaging drama. Mark Cofta reviews.
A small Baltimore company, The Oven, brings their powerful play about human sex trafficking, 'COMMODITIES.' Mark Cofta reviews.
Almanac Dance Circus Theatre's Exile 2588 crafts a magical myth through movement. Mark Cofta reviews.
'The Church Bells All Were Broken,' Dave Ebersole's new play about gay-hating protesters (modeled on the Westboro Baptist Church), earns laughs and more. Mark Cofta reviews.
Nilo Cruz's world premiere drama 'Bathing in Moonlight' overlooks a rich modern family situation for a tired melodramatic trope. Mark Cofta reviews.
Iron Age Theatre Company's 'A Runaway, a Soldier, and a Snowball Fight' suggests Revolutionary relevance, but doesn't deliver. Mark Cofta reviews.
Chris Davis's 'One-Man Apocalypse Now' celebrates the iconic film but achieves much more. Mark Cofta reviews.
Ensemble Atria and EagerRisk Theater's 'Drowning Ophelia' explores the power of memory through Hamlet's heroine. Mark Cofta reviews.
A new play about the Salem witches goes dark, but not deep enough. Mark Cofta reviews.
As the 2017-18 theater season bears down upon us, the season's openings can get lost in the wash of Fringe Festival premieres, but there are some classics you shouldn't miss.
At the end of August, Philly theater's traditional dead time, comes a must-see revival of Gilbert and Sullivan's 'The Pirates of Penzance.'
GayFest! presents Chad Beguelin's 'Harbor,' which tackles serious life issues with humor and insight.
The Commonwealth Classic Theatre Company's revival of James Goldman's 'The Lion in Winter' sacrifices the play's deeper themes for easy laughs.
A one performer, one audience member choose-your-own-adventure tale, 'Who Told You You Were Naked?' is a fine warm-up for the theatrical innovations of the Fringe Festival.
