Tuesday, March 3, 2015

POSTED: Wednesday, February 25, 2015, 1:25 PM

By Wendy Rosenfield

for the Inquirer

The Illusionists: Witness the Impossible, brings a motley Vegas-style assortment of magicians (and one escape artist) from a six-week residency on Broadway to the Academy of Music. They’ve got fireworks, lasers, indoor snow, interactive video screens and dancer/assistants dressed in the ragged Victorian hooker/dandy style seen sauntering across many a steampunk conference floor. But do they make the magic happen? 

Wendy Rosenfield @ 1:25 PM  Permalink | 0 comments
POSTED: Monday, February 23, 2015, 8:45 AM

By Toby Zinman

For the Inquirer

Nick Jones' new play, Verité, has a terrific premise: a young, dull, New Jersey housewife submits  the manuscript of a fantasy novel to a small publishing firm. They offer her $50,000, not for the dragons-and-dungeons book, but to write her memoirs. The trick is that her life has to be interesting  enough for people to want to read about it. They offer to help make things interesting, in ways that seem at first just weird, and then seem slightly sinister, and then seem downright threatening: "We don't publish romances, we publish ordeals."

Toby Zinman @ 8:45 AM  Permalink | 0 comments
POSTED: Saturday, February 21, 2015, 11:43 PM

By Jim Rutter

For THE INQUIRER

Sometimes I wish that Theatre Horizon still performed their musicals in a high school auditorium rather than the cozy, 120-seat space they built in Norristown. I especially longed for a different venue every time Kristine Fraelich's (as the Witch) belted out one of the songs from Stephen Sondheim's Into The Woods that Bernadette Peters originally made famous and that Fraelich makes no less her own here.

@ 11:43 PM  Permalink | 0 comments
POSTED: Saturday, February 21, 2015, 5:37 PM

By Wendy Rosenfield

for the Inquirer

I will never, ever stop being amazed by the endless directorial interpretations of Othello. I’ve lost count of how many I’ve seen, but Curio Theatre’s new production, directed by Dan Hodge, is the latest, and once again, it teases out new (to me) angles in Shakespeare’s 400-year-old script. 

Wendy Rosenfield @ 5:37 PM  Permalink | 0 comments
POSTED: Sunday, February 15, 2015, 7:27 PM

By Toby Zinman

For the Inquirer

Simpatico Theatre Project presents Obie-Award winning, Milk Like Sugar by Kirsten Greenidge; it's an engrossing  drama that is both a cautionary tale and an societal indictment, and the cast is superb. Greenidge can write what sounded to me to be pitch-perfect dialogue, and Alan Radway directs the ensemble with respect and a clever use of the Skybox's space.

Toby Zinman @ 7:27 PM  Permalink | 0 comments
POSTED: Saturday, February 14, 2015, 9:18 AM

By Toby Zinman

For the Inquirer

This is not your father's Tennessee.

Toby Zinman @ 9:18 AM  Permalink | 0 comments
POSTED: Wednesday, February 11, 2015, 11:10 PM

MOTHERS AND SONS

By Toby Zinman

For the Inquirer

Toby Zinman @ 11:10 PM  Permalink | 0 comments
POSTED: Tuesday, February 10, 2015, 1:39 PM

By Wendy Rosenfield

for the Inquirer

If there’s one thing Montgomery Theater loves, it’s a cluttered urban apartment filled with two or three of the city’s ragged loveless. Jim Geoghan’s Light Sensitive fits this bill, and like many of the theater’s other productions, it’s a story with working class humor, heart and a warm Christmas message. So, good for them. It’s not all they do, but they have their niche and they fill it well.

Wendy Rosenfield @ 1:39 PM  Permalink | 0 comments
About this blog
Toby Zinman's night job since 2006 is theater critic for the Inquirer. She also is a contributing writer for Variety and American Theatre magazine. Her day job: Prize-winning prof at UArts, author of four books about four playwrights (Rabe, McNally, Miller, Albee), and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). Her 'weekend' job as a travel writer provides adventure: dogsledding in the Yukon, ziplining in Belize, walking coast-to-coast across England, and cowboying in the Australian Outback.


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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