Friday, April 18, 2014
Inquirer Daily News

POSTED: Sunday, December 15, 2013, 9:11 AM

by Wendy Rosenfield

for the Inquirer

Quick: what do you think when you see the title of Curio Theatre’s world premiere Gender Comedy: A Less Stupid Twelfth Night Gay Fantasia? Whatever you pictured, drag, slapstick, high camp in the Ludlam and Busch-style, you’re right. But for Philly-bred first-time playwright and Curio company member Harry Slack, while this isn’t exactly a bait-and-switch scheme, it’s certainly akin to catch-and-release, complete with profound existential reckoning. (there’s a mid-show “fish fight”; it’s an apt analogy.) 

Wendy Rosenfield @ 9:11 AM  Permalink | 0
POSTED: Friday, December 13, 2013, 9:12 PM

By Merilyn Jackson

Merilyn Jackson @ 9:12 PM  Permalink | 0
POSTED: Friday, December 13, 2013, 5:00 PM

By Wendy Rosenfield

for the Inquirer

What's a poor Muggle to do? It's been a few years since J.K. Rowling published the final installation of her Harry Potter series. Since then, we've had Hunger Games and Hobbit films, but we seemed to be tapped out on boy wizardry.

Wendy Rosenfield @ 5:00 PM  Permalink | 0
POSTED: Friday, December 13, 2013, 12:44 AM


By Toby Zinman

For the Inquirer 

Toby Zinman @ 12:44 AM  Permalink | 0
POSTED: Thursday, December 12, 2013, 8:11 AM

By Toby Zinman

For the Inquirer 

Theatrical dialect coaches believe that in the actor’s creation of the character, the talk has to precede the walk—or, if you’re a Jersey Boy, the “tawk” precedes the “wawk--especially if you’re going to sing a “sawng.”  And that means you need a dialect coach.

Toby Zinman @ 8:11 AM  Permalink | 0
POSTED: Wednesday, December 11, 2013, 10:28 PM


By Toby Zinman

For the Inquirer

Toby Zinman @ 10:28 PM  Permalink | 0
POSTED: Sunday, December 8, 2013, 11:11 AM

by Wendy Rosenfield

After her Sound of Music live television performance Thursday, more than a few Carrie Underwood defenders took to social media to declare, “At least she had the guts to do it live.” Bucks County Playhouse’s world premiere production, Meet Me in St. Louis: A Live Radio Play, also takes on a beloved classic and -- much like other theaters everywhere, all the time -- performs it live, with far more consistent results, and without the budget and backing of a major television network. So there.

This year marks the second time a Joe Landry radio play has landed on BCP’s stage, but the first time the work was commissioned for the company. Last year’s adaptation, It’s a Wonderful Life, is one of the most often produced plays in the United States. Its formula -- repeated here with a return show-stealing performance by petite dynamo Lauren Molina as both youngest Smith sister Tootie and Irish housemaid Katie and lively direction by Gordon Greenberg (Working) -- has the makings of another success.

Wendy Rosenfield @ 11:11 AM  Permalink | 0
POSTED: Sunday, December 8, 2013, 12:21 AM

by Toby Zinman

for the Inquirer

 The “Gotcha!” heard round the world. 

Toby Zinman @ 12:21 AM  Permalink | 0
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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