Sunday, February 7, 2016

Archive: April, 2012

POSTED: Monday, April 30, 2012, 1:45 PM
Blog Image
Henry Higgins (Tony Braithwaite) shows Eliza Doolittle (Eileen Cella) his transcription of her Cockney accent in Act II Playhouse's production of "My Fair Lady" while Harrison Post and Owen Pelesh looks on. Photo by Bill D'Agostino.

By Howard Shapiro

“And oh, that towering feeling! ...that overpowering feeling,” sings the character Freddy in My Fair Lady, in one of the greatest songs of the American theater, “On the Street Where You Live.” He’s been hopelessly smitten by the transformed flower girl, Eliza Doolittle.

Oh, that towering feeling -- it’s what’s missing from the Act II Playhouse production of the now-classic musical by Alan Jay Lerner and Frederick Loewe. Overpowering? I’m afraid not.

howard shapiro @ 1:45 PM  Permalink | 0 comments
POSTED: Thursday, April 26, 2012, 12:11 AM


By Toby Zinman

For the Inquirer

Toby Zinman @ 12:11 AM  Permalink | 0 comments
POSTED: Wednesday, April 18, 2012, 11:44 PM

By Toby Zinman

For the Inquirer

I had been dutifully watching the trailer for Philly Shakes’ new production of Titus Andronicus, listening to Aaron Cromie, who is directing it, burble on, talking-head style, about going to graduate school, blah blah blah. And then his head started to bleed. And  the blood gushed down his face, and still he talked. This, I said to myself, is going to be a Titus Andronicus to remember. And so it was.

Toby Zinman @ 11:44 PM  Permalink | 0 comments
POSTED: Saturday, April 14, 2012, 1:53 AM

By Howard Shapiro

Several modern plays touch on abuse and molestation but none that I know of, including the much-produced Doubt, wield the sheer force of Paula Vogel's How I Learned to Drive. Vogel, celebrated as both a playwright and teacher of playwriting, won the Pulitzer Prize in 1977 for this look at the history of a woman and her uncle in a web of exploitation and defilement.

It's a clearly written, nuanced and immensely theatrical work - a narrative that Vogel seems to have built, deconstructed, then rearranged for maximum effect - and bringing it off demands well-considered acting and direction. Those are the hallmarks of the production by Theatre Horizon, which opened the play Friday night in Norristown, the company's final show at Centre Theater before moving a few blocks away to its own new space that should be ready in the fall.

howard shapiro @ 1:53 AM  Permalink | 0 comments
POSTED: Saturday, April 14, 2012, 12:01 AM

By Toby Zinman

For the Inquirer

Flashpoint Theatre Co. is giving Jacqueline Goldfinger’s new play, Slip/Shot,  a fine premiere. This beautifully crafted and intensely moving drama about the legacy of racist fear  is served by a powerful cast and an imaginative and skilled director,  Rebecca Wright.

Toby Zinman @ 12:01 AM  Permalink | 0 comments
POSTED: Friday, April 13, 2012, 12:48 AM

Beards Are For Shaving: a 007 Cabaret

by Toby Zinman

for the Inquirer

Toby Zinman @ 12:48 AM  Permalink | 0 comments
POSTED: Wednesday, April 11, 2012, 11:55 AM
Leaders of stage companies met Wednesday at the Wilma Theater on Broad Street to consider the fate of the Barrymore Awards and get an update on the closing of the Greater Philadelphia Theatre Alliance, the umbrella group that provided services for them.

By Howard Shapiro


   The Theatre Alliance of Greater Philadelphia -- an umbrella organization that has served the region's stages through a period of record growth -- is dissolving.

Howard Shapiro @ 11:55 AM  Permalink | 0 comments
POSTED: Wednesday, April 11, 2012, 11:49 PM


By Toby Zinman

For the Inquirer

Toby Zinman @ 11:49 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.

Philly Stage
Latest Videos:
Also on
letter icon Newsletter