4,217 stories from Broad Street Review
Jessica Bedford's 'Splinter and Crack,' Juniper Productions' sophomore production, can't support its own weight. Mark Cofta reviews.
Young South Philly company Raw Street Productions stages Bert V. Royal's 'Dog Sees God,' playing the 'Peanuts' parody for more than laughs. Mark Cofta reviews.
Director Claire Moyer's production of Joseph Heller's 'Catch-22' shows the classic anti-war novel hasn't lost its bite. Mark Cofta reviews.
Christopher Chen's new play 'Passage' raises many questions about nationality and identity, but fails to follow through, in its Wilma Theater world premiere. Mark Cofta reviews.
'Sing the Body Electric' highlights playwright Michael Hollinger's knack for crafting naturalistic dialogue and sympathetic characters, but the whole often feels less than the sum of its par…
Maurice Hines's 'Ella: First Lady of Song' makes a showstopping regional premiere at Delaware Theatre Company. Gail Obenreder reviews.
The Resident Ensemble Players' 'Twelfth Night' perfectly balances Shakespeare's comedic and melancholic tones. Mark Cofta reviews.
'¡Bienvenidos Blancos! or Welcome White People!' warmly welcomes audiences to appreciate the challenges Cuban-Americans face living in two cultures simultaneously. Mark Cofta reviews.
Paterson Joseph plays a time traveler on television, but reached into the past for his fascinating one-man show, 'Sancho: An Act of Remembrance.' Mark Cofta reviews.
Greg Banks's two-actor 'Snow White' provides a worthwhile storytelling lesson at the Arden. Mark Cofta reviews.
EgoPo's stunning 'Lydie Breeze' trilogy concludes with the dark and dreamy drama 'Madaket Road,' showing that the sins of the parents land on their children. Mark Cofta reviews.
Vermont's Bread and Puppet Theater visit Philly for a consciousness-raising good time with its "bad" play 'The Basic Byebye Show.' Jessica Rizzo reviews.
Villanova University's 'Much Ado About Nothing' is fast and funny, but director James Ijames's choices raise some questions. Mark Cofta reviews.
'Tell Me on a Sunday,' at Walnut Street Theatre's Independence Studio on 3, trades in gender stereotypes and clunky storytelling. Cameron Kelsall reviews.
Ron Hutchinson's 'Moonlight and Magnolias' at the Eagle Theatre imagines how a producer, writer, and director saved the film 'Gone with the Wind.' Mark Cofta reviews.
Quintessence Theatre Group premieres a compelling adaptation of Henrik Ibsen's 'The Wild Duck'. Cameron Kelsall reviews.
Irish Heritage Theatre collects five short plays about the Irish women of yesterday and today, and delivers mixed results. Cameron Kelsall reviews.
Seth Rozin's 'Human Rites' is an engrossing, often uncomfortable, thoroughly worthwhile new drama from InterAct Theatre Company. Mark Cofta reviews.
Quintessence Theatre Group's 'Julius Caesar' shows Shakespeare's relevance to today's political issues without gimmickry. Mark Cofta reviews.
On Philly stages, you can at least pretend it feels like spring with productions like 'Much Ado' and 'Twelfth Night,' plus intriguing new stuff from Michael Hollinger and…
GoKash OnSTAGE's residency at the Arden presents 'V to X,' exploring the world of for-profit incarceration and the state of black lives behind bars. Cameron Kelsall reviews.
'Noises Off,' Michael Frayn's evergreen farce, proves its durability once more at the Walnut Street Theatre. Cameron Kelsall reviews.
Kun-Yang Lin/Dancers perform 'Faith Project/The Door,' an exploration of divine connections. Melissa Strong reviews.
Samuel Maoz's 'Foxtrot' somehow managed to unite Israel's supporters and detractors around an IDF soldier story. Stephen Silver reviews.
Regina Taylor's 'Crowns,' at Princeton's McCarter Theatre Center, gives voice to the special relationship between black women and their hats. Cameron Kelsall reviews.
