This excellent production by InterAct of Thomas Gibbons' 2003 "Permanent Collection" tells the story of a fabulous trove of art and the people entrusted with its care. Fascinating, says David Patrick Stearns.
By Wendy Rosenfield
FOR THE INQUIRER
Only heaven and producer Whoopi Goldberg know why Sister Act — the 1992 film featuring Goldberg as Deloris...
Theatre Confetti's first offering, about kids trying to be adutls, features a fine cast of adults playing kids persuasively, says critic Wendy Rosenfield.
The feathers, the finery, the anthems, the heart -- "Priscilla Queen of the Desert" couldn't be more fun, says critic Toby Zinman.
A capable cast led by Edie Falco creates a cadre of unlikeable women and henpecked men in "The Madrid," says critic Toby Zinman.
"Vincent in Brixton" at the Walnut's Independence Studio, is picture perfect, as befits an engrossing play about the young van Gogh, says critic Toby Zinman.
Wendy Rosenfield calls this production, on the Walnut's tiny Studio 3 stage, a "small wonder" of inventive staging and costumes.
Like a grand diva who can’t get enough farewell tours, Les Misérables — the stage musical version — is again on a tour stop in Philadelphia against many odds. This time it arrives amid formidable competition from the current film version, notes...
Stage adaptations of It's a Wonderful Life have been proliferating, and though no one version dominates, Joe Landry's at Bucks County Playhouse in New Hope feels more viable than many: It rightly emerges as a fanfare for the common man, even...
BalletX's program started off as dark and stormy as the night, wound through two world premieres, and ended with Matthew Neenan's lovely, upbeat "Switch Phase," says Merilyn Jackson.
People's Light and Theatre Company presents a moving, majestic production of August Wilson's "Seven Guitars," says critic Jim Rutter.
"The Gate Reopened" is, like all Brian Sanders' work, thrilling, inventive, daring, ingenious and very witty, says critic Merilyn Jackson.
"I didn’t think I could be bored looking at beautifully built dancers in the buff," writes critic Merilyn Jackson, "but absent a single touch of irony or comic relief throughout [Jumatatu Poe's 'Private Places,' I was.
In Theatre Exile's "The Edge of Our Bodies," Nicole Erb captures the misery and malice of a privileged 16-year-old in trouble, and playwright Adam Rapp wants the audience to be complicit, says Wendy Rosenfield..