Tuesday, April 28, 2015

POSTED: Thursday, April 23, 2015, 7:35 AM

By Toby Zinman

For the Inquirer

"Truth and illusion. Who knows the difference, eh, toots?"

Toby Zinman @ 7:35 AM  Permalink | 0 comments
POSTED: Wednesday, April 22, 2015, 7:09 PM
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"Big Bang", Adryan Moorefield, Janine Beckles, Philadanco (Credit: Lois Greenfield)

Review: Philadanco spans four generations

Merilyn Jackson, For The Inquirer

Posted: Tuesday, April 21, 2015, 3:01 AM

Merilyn Jackson @ 7:09 PM  Permalink | 0 comments
POSTED: Monday, April 20, 2015, 1:35 PM

By Wendy Rosenfield

for the Inquirer

Lots of regional theaters enter dogs in the fight to get productions from their stages to Broadway, but Delaware Theatre Company’s Because of Winn-Dixie might be the only one featuring an actual canine. Based on the beloved children’s novel by Kate DiCamillo, with book and lyrics by Nell Benjamin (Legally Blonde) and music by Duncan Sheik (Spring Awakening), this might also be one of the few shows featuring dogs and children in which cuteness, though present in abundance, doesn’t take center stage.

Wendy Rosenfield @ 1:35 PM  Permalink | 0 comments
POSTED: Sunday, April 19, 2015, 12:25 PM

By Wendy Rosenfield

for the Inquirer

What is it about The Three Musketeers that still captures our imagination? Quintessence Theatre Group’s new adaptation of Alexandre Dumas’ sprawling adventure novel makes some excellent arguments for its continued good health and longevity. The rallying cry, “All for one and one for all,” surely resonates at a time when our nation is nearly as fragmented as Dumas’ pre-revolutionary France. It also helps that the manner in which Dumas depicts serious conflicts between the church, monarchy and citizens occurs between or (better still) enables much swashbuckling and romance. 

Wendy Rosenfield @ 12:25 PM  Permalink | 0 comments
POSTED: Wednesday, April 15, 2015, 10:31 AM

By Wendy Rosenfield

for the Inquirer

Montgomery Theater is a cozy suburban house, and Marry Me a Little, a sweet, sung-through two-hander featuring Sondheim castoffs (and a few songs that would later be included in his musical Saturday Night) should be just the right fit.  Fashioned into a tale about two of the naked city’s stories--a man, a woman, and the apartment building they share (with hopes of someday sharing the apartment)--it underscores the point that when it comes to Sondheim’s lyricism, “castoff” is a relative term.

Wendy Rosenfield @ 10:31 AM  Permalink | 0 comments
POSTED: Tuesday, April 14, 2015, 11:12 AM
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(TOM GRALISH/Staff Photographer) (From left) Michele Tantoco, Christina Gesualdi, Beau Hancock, Megan Bridge, Gregory Holt rehearse "Dust," set to Robert Ashley's opera.

A choreographer takes an opera to heart

Merilyn Jackson, For the Inquirer

Posted: Tuesday, April 14, 2015, 3:01 AM

Merilyn Jackson @ 11:12 AM  Permalink | 0 comments
POSTED: Monday, April 13, 2015, 1:39 AM

By Wendy Rosenfield

for the Inquirer

Enda Walsh’s Penelope is really only peripherally about that long-suffering classical icon of marital devotion. In Inis Nua Theatre Company’s production, she wanders in and out of a sliding glass door far above her final four suitors, never saying a word. They’re stuck at the bottom of an empty swimming pool with a defunct barbecue grill, makeshift wet bar and only themselves for company. One by one, between brawls, they pitch their woo to the lady upstairs via closed circuit television camera. 

Wendy Rosenfield @ 1:39 AM  Permalink | 0 comments
POSTED: Saturday, April 11, 2015, 11:54 AM
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TIM SUMMERS Zoe Scofield with Ariel Freedman in Scofield's "BeginAgain," performed by Zoe | Juniper at FringeArts.

Zoe | Juniper brings Scofield choreography to FringeArts

Merilyn Jackson, For The Inquirer

Posted: Saturday, April 11, 2015, 3:01 AM A snippet of Zoe Scofield's choreography was seen last fall at the FringeArts Festival in a piece commissioned for Pennsylvania Ballet dancers. With her BeginAgain opening at FringeArts on Thursday night, Scofield and her company Zoe | Juniper present an evening length dance that ranged from tender and mysterious to fearless and bitchy, but always retained an eerie dreaminess of self and otherness.

Visual artist and Scofield's partner in art and life, Juniper Shuey, makes up the other half of the Seattle-based Zoe | Juniper.

Merilyn Jackson @ 11:54 AM  Permalink | 0 comments
About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."


Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.


Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.


Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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