Friday, February 12, 2016

POSTED: Tuesday, February 9, 2016, 11:03 PM

By Toby Zinman

For the Inquirer

Toby Zinman @ 11:03 PM  Permalink | 0 comments
POSTED: Sunday, February 7, 2016, 5:46 PM

By Toby Zinman

For the Inquirer

Oooh, la la! What a delectable little puff pastry of a play this is. Mauckingbird Theatre Company's The Sisterhood is a contemporary gay adaptation of Moliere's 17th century comedy, The Learned Ladies. But, as the program tells us, Paris may be the Place, but the Time is "N'importante." Buckles on shoes, cellphones in hands.

Toby Zinman @ 5:46 PM  Permalink | 0 comments
POSTED: Friday, February 5, 2016, 11:26 PM

By Toby Zinman

For the Inquirer

Nicolai Gogol wrote The Government Inspector long ago (nearly two centuries) and far away (Tzarist Russia). He had decided, he wrote, "to hold everything up to ridicule at once."  Well, social satire doesn't travel well—especially not over time as well as space-- so it is puzzling that Idiopathic Ridiculopathy Consortium decided to present this labored farce now and here, especially when there is so much in contemporary society and government that begs to be satirized.

Toby Zinman @ 11:26 PM  Permalink | 0 comments
POSTED: Friday, February 5, 2016, 5:56 PM
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Ezralow Dance makes East Coast debut with Open at NextMove at the Prince’s spring opener.

By Merilyn Jackson

For the Inquirer

Merilyn Jackson @ 5:56 PM  Permalink | 0 comments
POSTED: Thursday, February 4, 2016, 8:01 PM

By Toby Zinman

For the Inquirer

Janeites, rejoice! Jane Austen's Sense and Sensibility, everybody's least favorite Austen novel, has been delightfully redeemed by a most surprising source: the Bedlam Theatre Company's radical, experimental, hilarious, lovable and altogether excellent adaptation for the stage. It's Downton Abbey on roller skates, a rock-n-roll minuet, complete with curls and caps and corsets.

Toby Zinman @ 8:01 PM  Permalink | 0 comments
POSTED: Thursday, February 4, 2016, 7:59 PM

By Toby Zinman

For the Inquirer

Janeites, rejoice! Jane Austen's Sense and Sensibility, everybody's least favorite Austen novel, has been delightfully redeemed by a most surprising source: the Bedlam Theatre Company's radical, experimental, hilarious, lovable and altogether excellent adaptation for the stage. It's Downton Abbey on roller skates, a rock-n-roll minuet, complete with curls and caps and corsets.

Toby Zinman @ 7:59 PM  Permalink | 0 comments
POSTED: Wednesday, February 3, 2016, 10:46 PM

By Toby Zinman

For the Inquirer

It's a rare play that can entertain you and outrage you simultaneously, but that's just what Exit Strategy does. Philadelphia Theatre Company's fierce and funny East Coast premiere of Ike Holter's terrific play, an indictment of the collapse of the Chicago school system, is as relevant here as it is there: urban children—and their teachers-- have been betrayed.

Toby Zinman @ 10:46 PM  Permalink | 0 comments
POSTED: Sunday, January 31, 2016, 4:32 PM
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Spring Dance Offerings in our Area

By Merilyn Jackson, for the Inquirer

 February could be frigid - but it'll be a hot month in dance. With 10 concerts, the shortest month has one-third of the 30-plus dance events planned through June. And in March, the highpoint of the spring dance calendar arrives, with Ángel Corella's reworking of the Marius Petipa classic Don Quixote, never before danced by this company; it will attract ballet fans from around the world.

Merilyn Jackson @ 4:32 PM  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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