4,393 stories from Philly.com
Broadway leading lady Ann Crumb has been trying on wings, and not because she's up to anything angelic at the Media Theatre's production of the Broadway show Souvenir.
"I seem to like stories about a major deception," says David Henry Hwang, author of the Tony-winning M. Butterfly, which opens tomorrow at the Philadelphia Theatre Company's Suzanne Roberts Theatre.
Forty years ago - to the month - Arthur Miller's moving and provocative drama The Price premiered in Philadelphia, then a major try-out town, on its way to Broadway. And at the same Walnut Street Theatre. And on the same stage.
I found myself admiring The 39 Steps with a sort of academic respect for its technical brilliance - this includes Mic Pool's on-target sound effects, Kevin Adams' lighting, and Peter McKintosh's do-it-yourself set, which the actors maneuver to endless advantage. But I didn't find myself in hysterics, which all this intends.
The new theatrical version, which opened Thursday, is as animated in real life as on screen - a triumph of stagecraft, with George Tsypin's stupendous sea-world structures, and scattered cry…
The long-running Broadway musical checks in here.
The "Sweeney Todd" villain says he plays many good guys, too.
Like Offenbach and Johann Strauss before him, Herman proves the paradox: Featherweight music can be the most substantial, if only because it carries its message so succinctly.
Credits studded with luminaries make this production of four short plays an event.
WHYY's broadcast of the Brecht/Weill opera is an antidote for all those Sugar Plum Fairies.
The U.S. premiere of Canadian playwright Linda Griffiths' Age of Arousal, which opened at the Wilma Theater Wednesday night, tries to tackle the issues women faced when they struck out for respect and emancipation, and ends up being tackled by its own storytelling.
Not everyone will be enthralled with Tony Kushner, the prolific playwright who wrote the astounding Angels in America, despite what one of his actor friends correctly identifies as his "very big brain" and his "very big heart."
In DHH, Hwang has invented a version of himself who discovers that "my face became my mask." This play is a very public and courageous unmasking.
Here we go again. Another Irish play about another bunch of drunks. And another Conor McPherson play about spooky events and divine intervention.
Is He Dead? is, ultimately, a triumph of staging, not writing. Blakemore should be pleased - he would have made Mark Twain laugh out loud, along with the rest of us.
I don't care if August: Osage County is 3 1/2 hours long. I wanted more.
