It’s been only a few weeks since the 2001-02 Barrymore nominations were announced, but there's already some controversy surrounding next season's awards (for the 2002-03 season): The Walnut Street Theatre has withdrawn from Barrymore eligibility.
Publicist and performer Christine Barbush is taking on Philly’s arts scene.
Ted Sperling has just been appointed Associate Artistic Director of the Prince Music Theater, where he will work with the founder of the company, Marjorie Samoff. Sperling is extremely versa…
Pig Iron's managing director and the Theatre Alliance team up to revive Philly's Small Theater Collective.
Is it theater? Is it dance? Whatever you call it, Philly's unique brand of movement theater is making international news.
Daniel Stern's Barbra's Wedding gets its world premiere at the Philadelphia Theatre Co.
I saw this play last night -- it's a very sweet piece that has some slow spots, but a lot of laughs.
City Paper asked Christine Andreas, Donald Smith and Wesla Whitfield to pick a great cabaret song and tell us why it works.
Nice to see Christine's photo on the front page today!
Philadelphia hosts a convention dedicated to the art of the cabaret.
The little village of Anatevka, as seen on stage at the Walnut Street Theatre, is so full of life that the old show feels newly minted.
If you think there are no second acts in American lives, Sunday in the Park with George will change your mind.
Václav Havel forces the issue with blatant allusions to Shakespeare's King Lear, Chekhov's The Cherry Orchard and Beckett's Endgame in his first post-Czech presidency play, Leaving, receiving its American première at the Wilma Theater.
Ma Rainey benefits from a taut, you-are-there approach.
Václav Havel's Leaving sums up the life of a statesman - and a playwright, too.
REVIEW: When We Go Upon the Sea
REVIEWS: At This Evening's Performance and Red Hot Patriot
At the Wilma Theater, Language Rooms feels incomplete: Some scenes seem unnecessary, and the characters and issues walk a thin line between violence and absurdity. Luckily, director Blanka Zizka's production impresses, amplified by Ola Maslik's set and Russell Champa's sculpted lighting.
Kathleen Turner comes to Philly kicking ass and taking names.
REVIEW: Arden Theatre Co.'s Romeo and Juliet
Philly's matriarch of the stage talks motherhood, menopause and Florence Henderson.
A palpable feeling exists in the audience of a Bruce Graham play: the tingling sense of people eagerly awaiting reasons to laugh.
Some plays, like Hamlet and St. Joan, shouldn't be produced without just the right actor for the leading role. Add Terrance McNally's Master Class to that list. At Media Theatre, Artistic director Jesse Cline cast Ann Crumb as opera diva Maria Callas - clearly the right choice.
Golden Age, receiving its world première at Philadelphia Theatre Co., never really arrives.
In Gagarin Way, Scottish playwright Gregory Burke offers what is unmistakably a McDonagh fan letter.