Theater

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Dancing all the way to the electric chair.

Kander & Ebb's "Scottsboro Boys' by PTC (2nd review)

An idea that's off the rails

What's that you say? You can't get into snappy tap dances and rousing cakewalks about racism and lynching? Hey, where's your sense of humor?
Jackie Schifalacqua

Jackie Schifalacqua

Articles 2 minute read
Rodney Hicks (left), Forrest McClendon: Tell it like it really happened?

Kander & Ebb's "Scottsboro Boys' by PTC (1st review)

The memory of injustice, or: Let's put on a (very different) show

This first-rate production of an ingenious musical appropriately recalls an American racial nightmare of the 1930s. Unfortunately, in its preoccupation with laughing at racism it overlooks or, worse, lampoons some of the real heroes of that Alabama tragedy.

Marshall A. Ledger

Articles 6 minute read
McDonald (left) with Norm Lewis: An operatic performer in a made-for-Broadway show.

"Porgy and Bess' on Broadway

Porgy, we hardly knew ye

Can you improve on a classic like Porgy and Bess, let alone Shakespeare or Chekhov? Diane Paulus thought she could make Gershwin's classic more relevant to modern audiences. The result is a merely entertaining show, bereft of the passion and grandeur of the 1935 original.

Carol Rocamora

Articles 5 minute read
Bob Horn was a flawed deejay, but he broke Philadelphia's color line.

"Memphis' and the real dawn of rock 'n' roll

Blacks, whites and rock ‘n' roll: Memphis vs. the real ‘Bandstand'

As rock 'n' roll musicals go, Memphis seems unnecessary. The subject of racial integration among music lovers was well covered ten years ago in Hairspray. A far more intriguing tale— how Bob Horn's “Bandstand” brought black music to white Philadelphia audiences in the early '50s— has yet to be celebrated on stage.
Steve Cohen

Steve Cohen

Articles 5 minute read

"Ludwig Live' at Kimmel's Innovation Studio

And then in 1822 I wrote…..

Where did Beethoven go wrong? For one thing, he lacked catchy lyrics. For another, he lacked a vivacious sidekick adept at baton twirling and tap dancing. Now he has both.
Steve Cohen

Steve Cohen

Articles 2 minute read
Silvia Calderone as Antigone: A question of justice, then and now.

"Alexis': Political theater in New York

Where theater and politics meet

How can political theater bring audiences to their feet and change the course of history? Why does it happen in Europe and not here? Motus, a daring new Italian theater company, has provided a vivid model for Americans.

Carol Rocamora

Articles 4 minute read
Gonglewski, Ingram, Martello: Constructive disruption. (Photo: Alexander Iziliaev.)

Annie Baker's "Body Awareness' at the Wilma (3rd review)

Quest for empathy, or: Who are the people in your neighborhood?

Body Awareness plunks us into a snowbound Vermont household whose inhabitants seem as trapped by their dysfunctional relationships as they are by the frost and darkness outside. Yet by disrupting each other's cherished assumptions, each acts as a positive catalyst on the others. The potential implications for the planet are huge.
Dan Rottenberg

Dan Rottenberg

Articles 5 minute read
Coucill (left), Ingram: Sex lessons. (Photo: Alexander Iziliaev.)

Annie Baker's "Body Awareness' at the Wilma (2nd review)

Cabin fever in politically correct Vermont

Mimi Lien's set for Body Awareness permits us to observe the public, domestic and private lives of a family. The snow falling in the background through the windows suggests a cocoon insulated from all foreign forces. It's an effective allusion for Annie Baker's tenderhearted and enjoyable comedy.
Jackie Schifalacqua

Jackie Schifalacqua

Articles 3 minute read
Gonglewski (left), Ingram: Accept ourselves as we are? (Photo: Alexander Iziliaev.)

Annie Baker's "Body Awareness' at the Wilma (1st review)

Nobody's perfect

Annie Baker's comedy, Body Awareness, pounces eagerly on its too-predictable targets, and the laughs come a bit cheaply despite good ensemble work by its cast. Theater should ask, and deliver, more. Body Awareness. By Annie Baker; Anne Kauffman directed. Through February 5, 2012 at the Wilma Theater, 265 S. Broad Street. (215) 546-7824 or www.wilmatheater.org.
Robert Zaller

Robert Zaller

Articles 3 minute read
Krause (left) with Aubie Merylees: Good antidote.

"Charlotte's Web' at the Arden (1st review)

A spider your grandchildren can love

My seven-year-old grandson had plenty of opportunities to interact with the Arden's marvelous cast of actors as animals. The grownups had a good time too. Charlotte's Web. By Joseph Robinette, from the book by E.B. White; Whit MacLaughlin directed. Through February 12, 2012 at Arden Theatre, Haas Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
Merilyn Jackson

Merilyn Jackson

Articles 1 minute read