Theater

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The man I love has got rhythm: Fairchild and Cope in “An American in Paris.” (photo © 2014 Angela Sterling)

'The King and I,' 'An American in Paris,' and 'Something Rotten!'

Too many musicals?

“Too much of a good thing can be wonderful,” Mae West once said. Does that also apply to Broadway musicals this season?

Carol Rocamora

Articles 5 minute read
Let the games begin. (photo by Paola Nogueras)

'Who's Afraid of Virginia Woolf?' by Theatre Exile (second review)

Fun and games in academe

Why do some bad marriages last? Perhaps, Edward Albee seems to be saying, because the joy of tormenting each other offers the illusion of happiness.
Naomi Orwin

Naomi Orwin

Articles 4 minute read
A botched attempt to communicate: Scammell and Minora. (photo via theatrephiladelphia.org)

Eugene O'Neill's 'Hairy Ape' at EgoPo (2nd review)

Expressing inequality

The intentions of a playwright and a theater company mesh perfectly as EgoPo presents a visceral, Expressionist production of The Hairy Ape.
Steve Cohen

Steve Cohen

Articles 3 minute read
Bunting and Slusar share a laugh. (photo by Paola Nogueras)

'Who's Afraid of Virginia Woolf?' by Theatre Exile (1st review)

The ghosts of Taylor and Burton

Richard Burton and Elizabeth Taylor’s quarreling ghosts must be hovering somewhere over Philadelphia: Who's Afraid of Virginia Woolf? and two other Taylor-Burton vehicles are either currently or recently on local stages.

Kathryn Osenlund

Articles 4 minute read
Taking care of the man cub: DelMarcelle as Baloo, Walker as Bagheera, and Canales as Kaa. Photo by Mark Garvin.

'The Jungle Book' at the Arden

Learning from the animals

The laws of the jungle, it seems, can be more forgiving than the laws of man. But children still have to learn the rules of the world they live in so they can survive and thrive.
Naomi Orwin

Naomi Orwin

Articles 3 minute read
Cromwell: Masterminding and manipulating. (photo by Johan Persson)

'Wolf Hall' and 'The Audience'

Brits on Broadway

With Thomas Cromwell and Elizabeth II, Britannia rules on Broadway, at least for this season.

Carol Rocamora

Articles 4 minute read
Making excellent use of a machine

Thomas Gibbons's 'Uncanny Valley' at InterAct (second review)

Unnatural scenes in 'Uncanny Valley'

As a warning about technological innovations, Uncanny Valley is a false alarm. Its development of character is as mechanical as its subject matter.
Steve Cohen

Steve Cohen

Articles 4 minute read
Swashbuckling and all-for-onesing: Michael Brusasco (as Athos), Alan Brincks (as Aramis), Gregory Isaac (as Porthos), and Connor Hammond (as d'Artagnan). (Photo by Alexander Iziliaev)

Quintessence production of 'The Three Musketeers'

Diving into submerged sexuality

The engaging Quintessence production of The Three Musketeers makes the Musketeers more appealing than Dumas intended. As written, they’re a bunch of hair-trigger Hells Angels ready to fight at the slightest provocation and thoroughly contemptuous of their social inferiors.
Lynn Hoffman

Lynn Hoffman

Articles 2 minute read
Dietrich Bonhoeffer with confirmands in 1932.

'Bonhoeffer's Cost' by Beacon Theatre

High drama about the price of commitment

While Bonhoeffer’s theology is important, we remember him today for his courage in seeing through the Nazis' lies and his willingness to die so that others might live. While it asks penetrating questions, this play is ultimately about Bonhoeffer the man.
Victor L. Schermer

Victor L. Schermer

Articles 5 minute read
Nothing but steel and energy: Matteo Scammell as Yank in “The Hairy Ape.” (Photo by David Sarrafian)

'The Hairy Ape' (1st review) and 'Penelope'

Men, cages, and the unattainable woman

When a woman is responsible for men’s actions, do they always behave badly?
Naomi Orwin

Naomi Orwin

Articles 5 minute read