4,217 stories from Broad Street Review
Andrew Bovell, an Australian playwright, and director David Cromer combine with a luminous cast to provide a searing and extraordinary theatrical experience.
Red, based on two years in the life of the Abstract Expressionist painter Mark Rothko, is a daring play about making art. In 90 minutes it shows us what a monster of self-absorption and narcissistic contempt our art-god can be.
The impassioned portrayal of Molly Ivins by Kathleen Turner vividly brings to the stage the columnist's sharp political critiques and belly-laugh mockery of those in power.
Hamlet, the seldom-performed opera by the 19th-Century French composer Ambrose Thomas, departs significantly from Shakespeare. Yet it works as a drama.
The late spunky Texas journalist Molly Ivins makes an inspired and inspiring subject for a one-woman stage play. The problem with Red Hot Patriot lies in the two-dimensional nature of journalism, as opposed to drama or literature.
I wish I could tear up over Romeo and Juliet like everyone else. And I have- when I was 14. But a more adult perspective on partnership has squelched my enjoyment.
Careful, astute direction by Brenna Geffers of EgoPo Productions resurrects the bones of Beckett's existential classic, Waiting For Godot, into a drama that's fresher and more exciting than the raft of "new" plays currently on Philadelphia stages.
Suzan-Lori Parks's new play, The Book of Grace, is determined to bludgeon every shred of hope, optimism and cheerfulness out of us until we succumb to her grim view of human beings, event outcomes and life generally.
Language Rooms, Yussef El Guindi's fierce comic fantasy, tackles many realities of Arab-American life. It would be funnier if it moved faster.
The charming Mary Martello's cute idea- what happens to fairy-tale heroines after they find their charming princes?- is undermined by a weak script that's too often repetitive and obvious.
Matt Pfeiffer's direction of the Arden's Romeo and Juliet bathes us in emotional intensity. He also strips the young lovers' tragedy of any romance in order to cast a disapproving glare on Shakespeare's text itself.
