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Lee Minora's Fringe-hopping one-woman show, 'White Feminist,' offers strong satire with a brilliant twist. Mark Cofta reviews.
‘Hapgood,’ at Lantern Theater Company, finds Tom Stoppard at his most self-consciously dense. Cameron Kelsall reviews.
This Fringe show sets out to explore images and expectations of Jewish beauty, but ends up taking in a lot more. Alaina Johns reviews.
Kylie Westerbeck's 'Peg!' introduces a relentlessly optimistic Minnesotan who captures our hearts. Mark Cofta reviews.
The quest for a child drives Lisa Grunberger's moving new play ‘Almost Pregnant.’ Mark Cofta reviews.
The power of ‘Kill Move Paradise,’ James Ijames’s bracing new play at the Wilma Theater, lies in its sad ambiguity. Cameron Kelsall reviews.
Bloated and self-indulgent, Trey Lyford’s ‘The Accountant’ offers little insight on the banality of corporate culture. Cameron Kelsall reviews.
‘NIGHTMARE FUEL,’ a scary, sticky, freshly re-birthed gem in this year’s Fringe Fest, is worth the trip. Alaina Johns reviews.
‘Bon Iver Fights a Bear,’ the latest work from playwright Douglas Williams, explores the hipster folk musician’s origin story. Cameron Kelsall reviews.
In ‘Voided,’ a playwright/performer grapples with the question of how to discover and represent someone else, and introduces us to a woman we should all know — if we can grasp her. Ala…
Tongue & Groove's life-based improv explores relationships through emotions in their new format, FEEL, debuting in the Fringe. Mark Cofta reviews.
The history of Jewish women takes center stage in ‘Behold Her,’ a Fringe Festival entry from Half Key Theatre Company. Cameron Kelsall reviews.
The Curated Fringe visits an aging office clerk who’s consumed by regret and loss, rendered in piquant detail in The Accountant. Helen Walsh reviews.
‘The Presented,’ the latest one-person show from Chris Davis, gives off an old-school Fringe Festival vibe. Cameron Kelsall reviews.
What do inanimate objects demand for themselves? This performative installation in the Curated Fringe lets them speak. Gail Obenreder reviews.
Trey Lyford's lovely and haunting new work in the Curated Fringe explores the inner life of a lonely office worker. Mark Cofta reviews.
Heiner Goebbels’s ‘Songs of Wars I Have Seen,’ a curated Fringe Festival entry, awkwardly blurs the lines between music and theater. Cameron Kelsall reviews.
For this year’s Fringe, Idiopathic Ridiculopathy Consortium puts an absurdist spin on Tennessee Williams’s ‘The Eccentricities of a Nightingale.’ Cameron Kelsall reviews.
Angelo Aiello’s original production 'Onwards and Upwards' gets lost in transit. Ostensibly an exploration of Italian American immigration and the immigrant experience, it lacks polish and …
Elephant Room Productions' Fringe Fest entry explores sexual assault in the poetic yet starkly real new play 'Salamander' by Lisa Villamil. Mark Cofta reviews.
Irish Heritage Theatre's Fringe Fest entry, Billy Roche's 'Lay Me Down Softly' features solid performances but ultimately loses the fight. Cara Blouin reviews.
'Peter Pan' author J.M. Barrie's ‘Mary Rose,’ Philadelphia Artists’ Collective’s latest Fringe entry, tells a gorgeous ghost story. Cameron Kelsall reviews.
‘Do You Want a Cookie?’, a Philadelphia Fringe Festival offering from the Bearded Ladies Cabaret, explores cabaret’s personal and political history. Cameron Kelsall reviews.
Boxing gives way to emotional turmoil in Irish playwright Billy Roche's 'Lay Me Down Softly,' produced by the Irish Heritage Theatre and Plays & Players. Mark Cofta reviews.
Unfortunately (considering the timing), Neil Simon’s semi-autobiographical ‘Biloxi Blues,’ at Act II Playhouse, hasn’t aged well. Cameron Kelsall reviews.
Shakespeare Theatre of New Jersey’s ‘Blithe Spirit’ never settles for easy laughs. Cameron Kelsall reviews.
This wolverine-besieged ranch for troubled teens, gay horses, and vacationers like you is actually a 90-minute timeshare presentation, right? Alaina Johns reviews.
Jen Silverman’s ‘Dangerous House,’ at the Williamstown Theatre Festival in Massachusetts, chronicles the perilous lives of LGBTQ people in supposedly progressive contemporary South Afr…
'Million Dollar Quartet' at the Bucks County Playhouse imagines four rock-and-roll legends’ real jam session, but opts for familiarity rather than fidelity. Mark Cofta reviews.
Paula Vogel's The Baltimore Waltz by the Princeton Summer Theater reminds us of the 1989 play's enduring themes and Vogel's masterful writing. Mark Cofta reviews.
'Woody Sez,’ in a return performance at People’s Light, offers music for the moment. Cameron Kelsall reviews.