Wednesday, February 10, 2016

Archive: November, 2012

POSTED: Thursday, November 29, 2012, 11:12 PM

By Toby Zinman

For the Inquirer

Hi, Folks. Ebenezer Scrooge here, with my guest this evening, Grinch, the noted critic who loves to hate Christmas shows.  I hope this finds you well, despite the pervasive holiday cheer.

Toby Zinman @ 11:12 PM  Permalink | 0 comments
POSTED: Sunday, November 25, 2012, 8:46 PM

By Wendy Rosenfield


Let’s play a word association game: if I say “Mister Man,” what image comes to mind? How about “hobbling?” “Dirty birdie?” For much of the moviegoing public, these associations end at the 1990 film adaptation of Stephen King’s thriller Misery, with Kathy Bates’ deranged nurse and “number-one fan” Annie Wilkes looming over James Caan as her bedbound prisoner, romance author Paul Sheldon. Bates’ Oscar-winning performance also looms large over Bucks County Playhouse’s world premiere stage play Misery, also adapted from King’s novel, and that’s exactly the problem with this production.

Wendy Rosenfield @ 8:46 PM  Permalink | 0 comments
POSTED: Monday, November 19, 2012, 9:00 AM

By Wendy Rosenfield

For the Inquirer

In the pantheon of People’s Light and Theatre pantos, Cinderella, the company’s 2009 Barrymore Awards-sweeping vaudevillian adaptation, stands as a Jupiter of the form. While the panto, a holiday-time descendent of commedia dell’arte, includes a standard set of conventions--candy-tossing, drag-wearing, audience participation--that year’s effort was anything but conventional; innovative, even.  

Wendy Rosenfield @ 9:00 AM  Permalink | 0 comments
POSTED: Sunday, November 18, 2012, 1:48 PM


By Toby Zinman

For the Inquirer

Toby Zinman @ 1:48 PM  Permalink | 0 comments
POSTED: Sunday, November 18, 2012, 11:43 AM


By Toby Znman

For the Inquirer

Toby Zinman @ 11:43 AM  Permalink | 0 comments
POSTED: Sunday, November 18, 2012, 10:31 PM

By Toby Zinman

For the Inquirer

It takes a brave theater critic to write a play, and a brave critic to review it—especially since Satchmo at the Waldorf is by Terry Teachout, the esteemed critic of the Wall Street Journal. So it’s both a pleasure and a relief to tell you it’s a great show.

Toby Zinman @ 10:31 PM  Permalink | 0 comments
POSTED: Sunday, November 18, 2012, 8:32 AM

By Jim Rutter


After seeing Montgomery Theater’s production of Sean Grennan’s Making God Laugh, I'm thinking that Biblical standards of humor have declined a bit since Job’s time.

@ 8:32 AM  Permalink | 0 comments
POSTED: Saturday, November 17, 2012, 12:08 PM


The North American debut of Rome’s Spellbound Contemporary Dance at Annenberg Center Thursday evening was Dance Celebration’s 30th anniversary gift to its loyal audiences. Aside from troupes like Grupo Corpo Brazilian Dance Theater, a Dance Celebration favorite, few companies can afford to maintain dancers of this caliber. Artistic director Mauro Astolfi manages to keep nine well-matched dancers of such chameleon-like suppleness, they were not only spellbinding, but breathtaking.

With much similarity in tone, lighting and tempo to a work Astolfi mounted on BalletX last week, the Annenberg show began and ended with Lost for Words. That is, the work was broken into two sections. One, which was created in 2011 and the second in 2012.  They acted as prelude and postlude to 2009’s Downshifting.

Merilyn Jackson @ 12:08 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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