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 the aud…
True to the best of children's stories, the undeniable dark side of 'Charlotte's Web' shows up onstage, but this production can't quite capture the novel's poetic and lifelike verve. Alaina …
'Noura,' at Playwrights Horizons in New York, uses Ibsen to explore the experiences of resettled Iraqi refugees in America. Cameron Kelsall reviews.
It's a long way back to the 1960s with 'A Sign of the Times," and DTC makes it a tuneful trip. Gail Obenreder 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.
1812 Productions's 14th annual 'This Is the Week That Is' again parodies politics but with an unapologetically strong point of view. Mark Cofta reviews.
The company including MARK LAZAR, CAROLINE STRANG, KIM CARSON & TYLER FAUNTLEROY keep hilarity going not just with gimmicks but with meaningful delicate storytelling.
Hedgerow Theatre's annual 'A Christmas Carol' plays for the 26th year, but check out the brief run of artistic director Jared Reed's solo version. Mark Cofta reviews.
John Rosenberg's new play 'And Then One Feels Great Anxiety' features a solo performance by Jenna Kuerzi and helps re-establish Kensington's Hella Fresh Theater. Mark Cofta reviews.
The Lantern Theater's solid production of David Ives's 'The Heir Apparent' can't rescue the 1708 French comedy from its own thin humor. Mark Cofta 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.
Walnut Street Theatre's holiday treat, 'Matilda the Musical,' features fine performances and agile direction. Gail Obenreder reviews.
Curtis Opera Theatre's 'Sweeney Todd' highlights the perils of classical companies adopting the musical theater idiom. Cameron Kelsall reviews.
'The Government Inspector' offers a fine example of Bryn Mawr College's eclectic productions, a well-kept Philly secret. Mark Cofta reviews.
All the elements combine to make REP's production of Alan Ayckbourn's 'Woman in Mind' a fantastic evening of theater. Gail Obenreder reviews.
Theater of Witness filmed a performance of their testimonial performance work 'Walk in My Shoes,' and the exploration of racism and violence proved a revelation. Anndee Hochman 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.
Villanova Theatre's 'She Loves Me' ably shows that this old musical delivers more than seems possible. Mark Cofta reviews.
Azuka Theatre's production of JC Lee's 'warplay' shows how the mythical can be personal, and vice versa, in a modern two-man exploration of a classic tale. Mark Cofta reviews.
Lynn Nottage's 'Crumbs from the Table of Joy' at South Camden Theatre Company serves up a satisfying family drama from the two-time Pulitzer Prize winner. Mark Cofta reviews.
Lucas Hnath's 'A Doll's House, Part 2' builds on the success of the Arden Theatre Company's splendid 2018 production of Henrik Ibsen's 'A Doll's House.' Mark Cofta reviews.