Theater

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McCool, Strathairn: Entourage of bumblers. (Photo: Jim Roese.)

Vaclav Havel's "Leaving' at the Wilma (1st review)

Will the real Vaclav Havel please stand up?

Here's a play about what happens when a statesman leaves office by a statesman who did leave office. But for all the insights he might have offered in Leaving, Vaclav Havel shoots for farce rather than drama.
Steve Cohen

Steve Cohen

Articles 4 minute read
E. Faye Butler as Ma: Who has the power? (Photo: Richard Anderson.)

"Ma Rainey's Black Bottom' by PTC

Bigotry and its consequences

Ma Rainey's Black Bottom uses a blues band's 1927 recording session to illuminate the self-destructive black rage engendered by centuries of white oppression. This compelling revival by Philadelphia Theatre Company demonstrates that, like all works of art, August Wilson's modern classic succeeds at several other levels as well.
Dan Rottenberg

Dan Rottenberg

Articles 4 minute read
Krause, Meehan: One brilliant parallel.

Katharine Gray's "516' by Philadelphia Theatre Workshop

Homage, or recycling?

Katharine Clark Gray's tedious and meandering 516 borrows heavily from Neil LaBute's The Shape of Things without much improvement.
Jim Rutter

Jim Rutter

Articles 2 minute read
Montbertrand (left), with Mic Matarrese as the Actor: From Osama to Obama. (Photo: Nadine Howatt.)

Brecht's "Arturo Ui' in Delaware (2nd review)

Who stole my wallet?

I never understood Hitler's charismatic hold on the German people, but this adept ensemble performance provides a clue: It keeps us so astonished that we're blinded and immobilized from calling his bluff.

A.Q. Torby

Articles 2 minute read
Stover, Farmer: The eyes have it. (Photo: Elan Gepner.)

Quintessence Theatre's "Measure For Measure'

A Bard for the 21st Century

The new Quintessence Theatre Group seeks to update the classics for a mass audience. With Measure For Measure, they're off to a good start, even if its strengths lie more in strong acting than in novel concepts.
Jim Rutter

Jim Rutter

Articles 4 minute read
Larsen: Newton-John's shadow.

"Xanadu' in Wilmington

The good old days of disco

Xanadu, a knockoff of a 1980 movie about a goddess who helps a bunch of California kids open a disco, lacks a discernible point, other than a chance to hear some good disco music once again. That point alone may suffice.
Steve Cohen

Steve Cohen

Articles 3 minute read
Monterbrand (right) with Cameron Knight: How to act like a dictator.  (Photo: N. Howatt.)

Brecht's 'Arturo Ui' in Delaware (1st review)

Brecht dissects Hitler (with a little help from Looney Tunes)

The Resistible Rise of Arturo Ui, Bertolt Brecht's 1941 Hitler parable set within a fictionalized Chicago underworld, is easily resistible. But once we hear the all-American “Looney Tunes” soundtrack of our childhood, our defenses are disarmed.

Norman Roessler

Articles 4 minute read
Hodge, Shotkin, Ford: Performance anxiety. (Photo: Mark Garvin.)

1812's "Evening Without Woody Allen'

Don't play it again, Woody

Woody Allen's published stories from the 1970s can make you laugh out loud. So why shouldn't acting them out before an audience produce the same effect? For several good reasons, actually.
Dan Rottenberg

Dan Rottenberg

Articles 3 minute read
Parsons (right) with Jeff Still: Wrongheaded.

Tracy Letts's "August: Osage County' on tour (2nd review)

Is this a comedy? Really?

The traveling cast played August: Osage County mostly as a comedy. But on Broadway, the cast expressed strong emotions when confronting suicide, addictions, infidelity, child molestation and incest. Wouldn't you, if this were your family?
Steve Cohen

Steve Cohen

Articles 3 minute read
William Zielinski as Ian: A second chance?

"Shining City' post-mortem (4th review)

Shining City post-mortem: Of human redemption, right here on Earth

Conor McPherson's Shining City portrays a world of souls in torment. Why then the upbeat title? SaraKay Smullens, a family therapist, finds a message of hope in McPherson's desperation.
SaraKay Smullens

SaraKay Smullens

Articles 5 minute read