Alyssa Biederman is a senior journalism and political science major at Temple University with a passion for theater. Since leaving her theater career as an actress and singer behind after entering college, she now enjoys writing stories that put her Philadelphia hometown in the spotlight. After graduating in 2020, she hopes to pursue political journalism.
What is exceedingly special about the Wilma's production is that all storytelling elements work together in perfect harmony to create a visually stunning, entertaining and thought-provoking production.
With its new production of A Woman of No Importance, Walnut Street Theatre hit its stride in producing classic works with a creative twist.
At times, concert productions can be dull. People holding binders at microphones can only do so much to illuminate a story. 11th Hour Theatre Company's Chess in concert bypasses these pitfalls by producing what turned out to be a showcase of Philadelphia's newest vocal talent -- talent that leaves the audience in awe.
How do you take a beloved classic and make it relatable to modern audiences? How can you keep a script intact while exploring new character representations and pop culture trends?
What has little-known backstories on classic characters, a green leading lady and larger-than-life production value? Nope, not Wicked -- but Shrek the Musical at Walnut Street Theatre checks all the same boxes. The Oldest Theatre in America's take on their holiday show is a Broadway-quality rousing good time for all ages.
As I walked in to recent Barrymore-winning Director Amina Robinson's newest project, I was excited to see what she would do next. But, Azuka Theatre's Sunset Baby was something Robinson and her projects are usually not: unremarkable.
Sometimes you can't come to your senses until you lose them. This is the message that comes out of Philadelphia Theatre Company's A Small Fire. The play, written by Adam Bock and featuring veteran actress Bebe Neuwirth as construction company owner Emily Bridges, follows her as she goes from boss lady to a woman with no sight, sound, or smell.
Imagine a world where the rich get richer, there's a so-called a?oeimmigrant problema?? and African Americans have to consistently fight to get the same opportunities as everyone else.
Two teens. One livestream that resulted in their untimely deaths. Opera Philadelphia's Denis and Katya, a world premiere part of their annual opera festival, uses this true story to ask questions about life, death, voyeurism and entertainment in an innovative 70 minute opera.
When you see Halloween decorations lining the aisles of every store, you may groan -- autumn has hardly begun! But at the Walnut Street Theatre, spooky season is in full swing, and you won't be sorry for it.
A small town community in the south struggles with an ethical dilemma in a lighthearted comedy musical. You've heard this story before: Ren and Ariel just want to dance. But this isn't Footloose. In The Best Little Whorehouse in Texas, locals take a stance against a brothel that's been running in the town for more than a hundred years.
What happens when you mix Agatha Christie, dueling pianos, and a Broadway-quality stage production? No, it's not the next big show coming to Vegas - it's Murder for Two at Gretna Theatre.
Lebanon Community Theatre's production of Beauty and the Beast brought me back to my childhood.
Florence Foster Jenkins - the 20th century performer who shocked with her confidence that she was a fantastic opera singer when she was absolutely not - was born in Wilkes-Barre, Pennsylvania. So, it only makes sense that Totem Pole Playhouse, just over two hours outside of the city would memorialize her with a production of the biographical musical play Souvenir.
If Nancy Drew wants a new 'do, she should head to the Shear Madness hair salon, where kitschy characters, 80s jams and a dark secret lie.
It was a buggy night, the grass was wet from stormy days and guest appearances from an ambulance and some screaming kids seemed a setting for a classic comedy.
If you're on the hunt for comedy, community, and Camelot, look no further than Keystone Theatrics' Spamalot.
In an hour and a half of fable, poetry, and traditional storytelling, Inis Nua's Untitled beautifully presents a tale of culture, privilege and destiny.
In front of projections of impressionist art and a set reminiscent of a still life painting, a simple story of romance, loss, poverty, and creation plays out. Opera Philadelphia's re-imagining of La Boheme takes the classic tale to a new level.
After climbing the back stairs to the third floor, I entered into an intimate theater dressed to look like an attic in a historic home. It felt full of secrets.
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