Fireflies
By Matthew Barber.
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Living or dead, to the Addams brood, “We’re all family!” They’re creepy, kooky, mysterious and spooky. And at Philadelphia’s Walnut Street Theatre, they’re singing, dancing, falling in love, and confronting that most terrifying prospect of all: normality. …
There are probably a good number of people in their AARP years who only know one musical, and that one is probably FIDDLER ON THE ROOF. I say this because my 87 years old father recalls he and my mother seeing many Broadway musicals, but can only name one - FIDDLER. …
What did our critic think of SWEE at Milton Theatre?…
New Light Theatre, in partnership with Delaware Theatre Company, has mounted a Putnam County Spelling Bee that proves once again why this company has become one of Delaware’s most conscientious and community minded artistic engines. Their mission — bringing light to the darkness by creating thea…
A one-man show is a monumental undertaking—and a monumental responsibility. For veteran REP actor Hassan El-Amin – who is Black -there is further gravitas in giving voice to August Wilson’s HOW I LEARNED WHAT I LEARNED, a 90-minute, no-intermission journey through the experiences that forged o…
Who doesn’t enjoy an evening of young musical theater performers strutting their stuff on a professional stage? Not me and certainly not the enthusiastic Opening Night audience of ANNIE now playing at The Candlelight Theatre. …
It doesn’t matter if you know the stage version, or the movie version, or don’t know anything about it, just know ARSENIC AND OLD LACE has an easy to follow plot that leads you down a path of hijinks straight to your funny bone.…
For many, the wild and unpredictable ride of a roller coaster is exhilarating and euphoric, while for others, it is traumatic and elicits multiple phobic fears. The musical RIDE THE CYCLONE is very much like a roller coaster in that the mindset of the viewer makes all the difference. Labeled as a �…
The Walnut Street Theatre’s opening night production of 1776 is, quite simply, magnificent. It arrives not merely as a theatrical event, but as something more essential—an experience that feels necessary.…
George Abbott earned the reputation of Broadway’s “show doctor” in the 1950s because he had an uncanny ability to fix troubled musicals quickly and commercially. Producers would bring him in—often late in rehearsals or even during out-of-town tryouts—to tighten scripts, sharpen comedy, res…
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