4,393 stories from Philly.com
Smug, horny, privileged, self-important, football-obsessed frat boys. Unlike the cloying Dead Poets Society or the brilliant History Boys, The Eclectic Society is a play without adult characters, and after a couple of hours, a stageful of pre-civil rights, postadolescent college students, all making speeches at each other, can, and does, wear thin.
Sometimes, the opera that unfolds backstage is at least as colorful as the one playing out at the footlights. And in Terrence McNally's new play, Golden Age, at the Philadelphia Theatre Company, it's just as intense.
In Des McAnuff's production, Fetch Clay itself floats like Ali's butterfly and stings like his bee; its timing is one of its clear strengths, both in the give-and-take of Power's script and in the muscular way McAnuff brings it to life at McCarter.
'05 merger with orchestra is imperiled.
It's hard to think of two contemporary authors more disparate in their writing than jet-setting Truman Capote and freedom-fighting James Baldwin.
Author's in actor/playwright James Ijames' "artistic DNA."
Tony Braithwaite has a good thing going with Act II Playhouse, and his new show, First Impressions, allows him to fully indulge his fetish for other people's mannerisms.
Matchmaker, matchmaker, make me a match. Only make it the phosphorus kind. That's what playwright Gina Gionfriddo does in her highly flammable comedy of no-manners called Becky Shaw, which played to acclaim Off-Broadway last year and opened Wednesday in a sizzling production at the Wilma Theater.
You can keep those waltzes and polkas. This New Year's Eve, the Philadelphia Orchestra imported Audra McDonald.
Ask Don Amendolia to identify his favorite role over four decades as an actor, and he'll reply: "I tend to fall in love with whatever I'm working on at the time."
Rarely is music theater intriguing for what it doesn't have. Stifters Dinge has no actors, singers, musicians, or plot.
In two new films opening Christmas Day, Penelope Cruz embodies screen sirens Audrey Hepburn, Marilyn Monroe, Sophia Loren.
Audio describer to give a mind's-eye view of the ballet.
The Arden's beguiling production soars on its ingenious sets and design.
The Broadway star from East Oak Lane, appearing in "Oliver!", has leading-man looks, a great tenor voice, and the soul of a big, generous kid.
In the 1970s, the music promoter and publisher Kal Rudman heard Judy Collins' recording of Stephen Sondheim's "Send in the Clowns" on Dawn Patrol. Impressed, he asked Mr. Wright to play the song frequently, and lobbied Collins' record company to issue the song as a single.
The decision to stage it in affordable form - reshaped by its composer/lyricist - has paid off for the company, which has extended the production through Dec. 13.
Childhood memories came rushing back last weekend with the news that Al Alberts had died at his Florida home at age 87.
