An arts journalism panel, in tandem with a rant by monologist Mike Daisey, amounted to a digital-age requiem for theater and journalism alike. Is there no hope for order out of this chaos? D…
Chisa Hutchinson's 'From the Author of' provides surprises and laughs in the Resident Ensemble Players' sumptuous premiere production. Mark Cofta reviews.
Hammonton, New Jersey's Eagle Theatre revises 'The Fantasticks,' with diminishing returns. Cameron Kelsall reviews.
Michael Hollinger and Robert Maggio's new musical, 'TouchTones,' at the Arden Theatre Company, reminds us that it isn't really about the bride. Alaina Mabaso reviews.
'It's a Wonderful Life: A Live Radio Play' shares holiday cheer in a fresh retelling of a familiar story at the Walnut Street Theatre's Studio 3. Mark Cofta reviews.
Emma Goidel's brilliant world-premiere drama 'The Gap,' produced by Azuka Theatre Company, starts with aliens but hits much closer to home. Mark Cofta reviews.
The latest Bach@7 performance (from Choral Arts Philadelphia's Bach Festival) covers the whole musical history of the Reformation, from Martin Luther to today, in one packed hour.
Bristol Riverside Theatre's production of Ronald Harwood's classical music comedy 'Quartet' plays painfully out of tune. Cameron Kelsall reviews.
The Irish Heritage Theatre's staging of Marina Carr's 'By the Bog of Cats' tells a powerful story, but neglects the play's ethereal poetic qualities. Mark Cofta reviews.
Fin Kennedy's 'Broken Stones' introduces serious themes, then abandons them for meta-theatrical twists in InterAct Theatre Company's premiere. Mark Cofta reviews.
In case you need an escape from America this fall, Philly theater openings take you to cities around the world, past and present.
Federico GarcÃa Lorca becomes an afterthought in the Wilma's unfocused 'Blood Wedding.' Cameron Kelsall reviews.
It never ceases to amaze me when theatrical creators assert freedom of expression for themselves but deny it to others.
The Barrymore Awards for Excellence in Theatre are a special time for Philly's theater artists to celebrate their achievements. So, why does Cara Blouin feel so weird about them?
Delaware Theatre Company's production of Tommie J. Moore's one-man show 'Dare to Be Black' offers an inspiring biography of boxer Jack Johnson. Mark Cofta reviews.
Ripe Time's convoluted take on Haruki Murakami's short story 'Sleep' shows the perils of adaptation. Cameron Kelsall reviews.
Act II Playhouse's revival of Michael Hollinger's 'Red Herring' will win you over hook, line, and sinker. Cameron Kelsall reviews.
Michael Hollinger and Robert Maggio's new musical, TouchTones,at the Arden Theatre Company, gently mocks pre-internet phone sex and abstinence vows while celebrating good ol' virginity. Mark…
Aaron Davidman's 'Wrestling Jerusalem' brings the Israeli/Palestinian conflict to Philadelphia Theatre Company's stage. Wendy Rosenfield reviews.
At long last, MJ Kaufman's "no review" world premiere 'Destiny Estimate' gets its review; Cameron Kelsall is glad he had the opportunity to weigh in.
Hella Fresh Theater's John Rosenberg returns to Philadelphia -- sort of -- with 'Not Next But This,' performed simultaneously in Fishtown and Berkeley, California. Mark Cofta reviews.
Theatre Exile's 'Ideation' examines whether morality can exist alongside corporate policy in a potent near-future thriller. Mark Cofta reviews.
People's Light & Theatre Company's world premiere 'Lights Out: Nat "King" Cole' unsuccessfully uses the famous crooner to spotlight 1950s racism and share some nice songs. Mark Cofta reviews.
Hedgerow Theatre's take on Noël Coward's supernatural comedy 'Blithe Spirit' remains earthbound. Cameron Kelsall reviews.
1812 Productions' 'Buyer & Cellar' imagines an actor's unlikely friendship with Barbra Streisand, brings humor and empathy. Mark Cofta reviews.