4,217 stories from Broad Street Review
Money, more than ideology, is the driving force in Ayad Akhtar's brilliant drama 'The Invisible Hand' at Theatre Exile.
Playwright Lucas Hnath's 'The Christians' is unlike any play you've seen before. There's a lot of talk about God, but whatever you expect, it's not what you expect.
You could say that Becky Mode's 'Fully Committed' skewers the underside of the restaurant business, or that it's a delicious slice of ham, or that it's an amuse bouche. Primarily, it's a gre…
In the wake of Inis Nua Theatre Company's production of The Radicalization of Bradley Manning, playwright MJ Kaufman and Headlong Dance Theater's Amy Smith issue a challenge to Philly's perf…
Momix brings back Opus Cactus, a piece from 2001, and makes the desert bloom.
There's a distance between the ways we behave in public and in private; when it comes to talking about race, that distance grows. Underground Railroad Game tries to bridge the gap and has fu…
Declan Greene's Moth explores the darker side of high school's downtrodden misfits in Azuka Theatre's stylishly accomplished production.
Philadelphia-born Quiara AlegrÃa Hudes sets her newest play in a North Philly bar, against a backdrop of family and civic unrest.
New Freedom Theatre's world premiere The Ballad of Trayvon Martin reveals the powerful emotions generated by his murder and other crimes against black Americans.
Arrigo Boito was the musician and playwright famed for turning Shakespeare plays into operas, such as Otello and Falstaff, where he collaborated with Verdi. Now another of his Shakespeare ad…
Kile Smith visits a Cincinnati diner and meditates on the unexpected pleasures of live music and strange meats. You just never know what might happen.
Henrik Eger interviews playwright Tim Price, whose drama The Radicalisation of Bradley Manning is receiving its U.S. premiere at Inis Nua Theatre Company through May 15.
The season of Bruce Graham continues with the local premiere of White Guy on the Bus, a raw discussion of race and economics wrapped in a suspenseful story.
Opera Philadelphia's production of 'The Elixir of Love' is funny and beautifully sung. What more do you want? Well, how about faithfulness to the composer's intentions?
Sharyn Rothstein's new play doesn't feel very new. Not even a talented theater company such as McCarter can entirely elevate this sitcom-ready material.
Objectivity goes out the window in John LaChiusa's fascinating musical exploration of opposing beliefs. The music is complex and well worth our attention.
Two acts, two tales, two countries appear in 11th Hour Theatre Company's production of Michael John LaChiusa's musical 'See What I Wanna See.' Mark Cofta says it's the kind of work 11th Hour…
An imaginative, visually rich production of Linda Sue Park's novel, adapted by Robert Schenkkan, is a wise fable for all ages, with a talented multi-ethnic cast.
This month, traditional feel-good season closers like 'the Secret Garden' or 'Man of La Mancha' join challenging, critically acclaimed shows like a remounted 'Underground Railroad Game.'
Broad Street Review's new Editor-in-Chief, Wendy Rosenfield, introduces herself. Read about her history with the website and longer history with its founder, Dan Rottenberg.
The special effects in Ivo Van Hove's stunningly radical production of The Crucible threaten to overwhelm Arthur Miller's eloquent plea for decency and integrity.
In I Will Not Go Gently, Jennifer Childs provides plenty of laughs about aging without ever addressing the critical question: How do you do it well?
Aging is tough, but it beats the alternative. So goes the old joke. Jennifer Childs's latest play and Ellensue Gross's paintings provide fresher responses.
Racial ignorance and fear have retreated since To Kill A Mockingbird first appeared; its often maligned author deserves some of the credit.
Six of Tempesta di Mare's principals went one-to-a-part with music from two of Baroque Italy's musical capitals.
