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Howard Shapiro joined The Inquirer in 1970 and has held many writing and editing positions, including cultural arts editor and travel editor. He now writes for The Inquirer’s features section.

His “On Travel” column appears occasionally on Sundays in Travel, and his theater reviews appear in the Daily Magazine and Weekend.

Find his podcasts with theater artists at http://go.philly.com/theater

  Email Howard at hshapiro@phillynews.com
Posted 2:06am
The perennial stage fave, Bruce Graham's "The Philly Fan," is back at Ambler's Act II Playhouse after a run there last season, and another stint this season at Bristol Riverside Theatre. The one-man show was first seen in the 2004 Live Arts/Philly Fringe Festival, and it has a lot of mileage.
Don't blame the actors for "Augusta." They've nothing to work with.
Posted 02/08/2010
What would you call a play about a home-cleaning company with a boss so thinly drawn, he registers neither as a character nor a cartoon, but more like a childlike tracing?
They referred to the renowned opera soprano Maria Callas as La Divina, and awarded her with curtain calls galore - at one point, 27. So as a moniker, La Divina is already taken. No problem. You can call Ann Crumb, simply, Divine.
Unannounced, the package containing the script of a new play called The Eclectic Society - a play now in its world-premiere run on the main stage of the Walnut Street Theatre - came in the mail. It landed on the desk of Bernard Havard, who leads the Walnut. He noticed the name of the sender: Eric Conger.
"Let's Pretend We're Married," a show by 1812 Productions produced last spring, is being revived in the same space (the Prince Music Theater) and with the same cast (Tony Braithwaite and 1812's artistic director, Jennifer Childs) that created it. The show, which opened last night, is identical except for a new number and new routine, both about Valentine's Day.
Blahz-nee, blahz-nee! That means ain't that nice? or something like it in Charlie Baker's native tongue, which is - floppy.
Sometimes, the opera that unfolds backstage is at least as colorful as the one playing out at the footlights. And in Terrence McNally's new play, Golden Age, at the Philadelphia Theatre Company, it's just as intense.
Playing at Suzanne Roberts Theatre, Broad and Lombard Streets. Through Feb. 14. Tickets: $46-$59. Information: 215-985-0420 or www.philadelphiatheatrecompany.org.
Cheers! That's it, that's the very last word of Oliver Goldsmith's 237-year-old romp, She Stoops to Conquer. And while you won't catch me giving away a play's ending, I never said anything about just the last word - a word that in this case is germane.
How does our past - not just a lifetime, but generations - define our present? If you are Lewis, who manages to be both protagonist and, through his visions, antagonist of Tanya Barfield's Blue Door, the answer on one sleepless night is 100 percent.
In this corner - he floats like a butterfly! Stings like a bee! - is the heavyweight champion of the world: Muhammad Ali.
It's hard to think of two contemporary authors more disparate in their writing than jet-setting Truman Capote and freedom-fighting James Baldwin. They do have one link, aside from being writers born in 1924: Both were gay.
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