Since South African Apartheid no longer officially exists, this 1973 Athol Fugard work might seem merely historical. Yet The Island's relevance transcends its criticism of one particularly cruel and arbitrary state.
David Mamet supposedly wrote Boston Marriage to prove he can write substantive roles for women. He still hasn't.
Bruce Graham's The Outgoing Tide confronts Alzheimer's disease with wisecracks like, “Are you crazy?” The playwright's immense talent, a first-rate cast of three, and innovative staging create a powerful theater experience nevertheless.
The late Penn historian Lee Benson contributed significantly to his field, but his shining moment may have occurred when he told his fellow historians to leave the sidelines and get involved.
The polymath playwright Michael Hollinger has done it again. This time he takes a too-familiar century-old classic tragicomedy and infuses it with new allusions and linguistic flights of fancy suitable for the 21st Century.
Big River, an adaptation of Mark Twain's Huckleberry Finn, paradoxically shows how Americans can be entertained while being completely humiliated by our nation's history.
Anthony Lawton reprises his one-man tour de force adaptation of C.S. Lewis's The Great Divorce, which explains to a highly misguided world the right way to get to heaven.
This first-rate production of an ingenious musical appropriately recalls an American racial nightmare of the 1930s. Unfortunately, in its preoccupation with laughing at racism it overlooks or, worse, lampoons some of the real heroes of that Alabama tragedy.
Noël Coward worried endlessly whether his works would endure. The Lantern Theater's current production of Private Lives suggests one answer: The only way to prove that an old play continues to breathe is to revive it as an unforgettable theater experience.
Dario Fo's efforts have always irritated the authorities and delighted the public with his farcical attacks on government corruption and social injustice. His work shares much in common with David Mamet's. So why is Mamet a darling of American theater, while Fo hasn't been performed in Philadelphia since 1997? Here's my theory.