4,393 stories from Philly.com
From the first moment, when about a million fluorescent watts dazzle us in Theatre Exile's production of Blackbird, the air fairly hums with electricity
The most serious shortfall in ticket sales is in the Broadway series, a cash cow for the center, which is coming in 25 percent short of its revenue goal.
Who would have thought that about-to-turn-50 Pearce Bunting, who made an enduring name for himself in Philadelphia as an intensely edgy character actor, would be singing and dancing as the sexy Australian "dad" in Mamma Mia!? And in spandex, yet?
A decade or so on, the piece has acquired a tarnished sheen that makes one appreciate its continued success, maybe even more so than in the days of its debut.
At 200, the Walnut Street Theatre has more subscribers, more history, and more gusto for growth than perhaps any other.
The oldest working U.S. theater has seen many stars - and an unrivaled subscriber stream.
Resurrection, Daniel Beatty's new show by Philadelphia Theatre Company, is clearly aimed at Black History Month.
Manipulative females rule the stage locally and in two Broadway productions that opened last week.
Paul Meshejian is artistic director of PlayPenn, a new-play development organization that is seeing all six of its projects get full-fledged productions.
The first look at the Bridge Project, a collaboration between British and American theater communities with the hard-won permission of both countries' Actors Equity unions, is pretentious an…
George Bernard Shaw's early play Mrs. Warren's Profession is a dazzler, and Emily Mann's stylish production does it proud, proving that after more than 100 years, it can hold audiences rapt and, shocking to say, shock us.
There is much art in Aaron Posner's exquisite adaptation of the late Chaim Potok's novel, My Name Is Asher Lev, whose world premiere by the Arden Theatre Company opened Wednesday night.
Three "American Idol" singers from Season 2 - Ruben Studdard, Frenchie Davis and Trenyce Cobbins - belt it out in "Ain't Misbehavin' " at the Academy.
A.R. Rahman may be one of the most successful musicians in the world.
A Chorus Line has become a legend since it opened in 1975, running longer, winning more prizes, playing to audiences all over the world. Reviewing it is like reviewing a Danielle Steel novel after it's sold a gazillion copies: It's not really any good, but who cares? The production that just opened at the long-dark Forrest Theatre is like a used paperback copy of that Danielle Steel novel - serviceable, but dingy.
In its fourth Broadway revival, which opened Thursday18 night, the show has been dressed in yet another updated script. But in the end, it's still defined by its sleazeball title character a…
