And so my Fringe begins - with a resounding thud. The first show of Luna Theater's season (and one of the first shows of Philly Fringe), is Fin Kennedy's How to Disappear Completely and Never Be Found. This 2005 cliche-filled script is bolstered by some good acting, but no matter how hard the actors try, the play remains 100 minutes of repetitious existential blather; the playwright sounds like a graduate student who has read more Beckett than is good for him.
WASHINGTON - Here's a shocker: Good news from the nation's capital. Unlike Congress, three major theaters in D.C. have been winning rave review after rave review, from Woolly Mammoth's Clybourne Park to Kennedy Center's Uncle Vanya to Arena Stage's Oklahoma!, the exuberant Rodgers & Hammerstein musical that always earns its exclamation point.
Imagine if you and your servant arrived in a strange city only to find that everyone there knew you by name; who are these people who invite you to dinner, hang jewelry around your neck, and know all your business? This is the plot of Shakespeare's The Comedy of Errors, the current production of the Classical Acting Academy of the Philadelphia Shakespeare Theatre.
Toby Zinman's night job since 2006 is freelance 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."