Dan Tobin News

HANDS ACROSS VERONICA, a biting comedy about women and their relationships to men, food and their bodies by Philadelphia playwright, Gin Hobbs, will have a newly staged production, tonight, November 6 - 30, 2013 at Walking Fish Theatre, 2509 Frankford Avenue, Philadelphia PA.

HANDS ACROSS VERONICA, a biting comedy about women and their relationships to men, food and their bodies by Philadelphia playwright, Gin Hobbs, will have a newly staged production, November 6 - 30, 2013 at Walking Fish Theatre, 2509 Frankford Avenue, Philadelphia PA. Ticket prices are $20.00 and can be purchased through the Walking Fish website

HANDS ACROSS VERONICA, a biting comedy about women and their relationships to men, food and their bodies by Philadelphia playwright, Gin Hobbs, will have a newly staged production, November 6 - 30, 2013 at Walking Fish Theatre, 2509 Frankford Avenue, Philadelphia PA. Ticket prices are $20.00 and can be purchased through the Walking Fish website http://www.walkingfishtheatre.com, or at the door. In addition, every Wednesday of the run is Pay-what-you-can.

The Performing Arts Department (PAD) in Arts & Sciences will close its production of METAMORPHOSES, perhaps the most acclaimed theatrical work of the last decade, as its spring Mainstage production on May 2nd.

In April and May, the Performing Arts Department (PAD) in Arts & Sciences will present METAMORPHOSES, perhaps the most acclaimed theatrical work of the last decade, as its spring Mainstage production. Performances will take place in the university's Edison Theatre at 8 p.m. Friday and Saturday, April 23 and 24; and at 2 p.m. Sunday, April 25. Performances will then continue the following weekend, at 8 p.m. Friday and Saturday, April 30 and May 1; and at 2 p.m. Sunday, May 2.

In April and May, the Performing Arts Department (PAD) in Arts & Sciences will present METAMORPHOSES, perhaps the most acclaimed theatrical work of the last decade, as its spring Mainstage production. Performances will take place in the university's Edison Theatre at 8 p.m. Friday and Saturday, April 23 and 24; and at 2 p.m. Sunday, April 25. Performances will then continue the following weekend, at 8 p.m. Friday and Saturday, April 30 and May 1; and at 2 p.m. Sunday, May 2.

Playwright Martin McDonagh has a knack for crafting pitch black comedies that find humor in the darkest of subjects. In his play, THE PILLOWMAN, he gives us a horror fiction writer trapped in a totalitarian state, who's being interrogated because the content of his gruesome work happens to coincide with a recent string of child murders. This is heavy stuff, but McDonagh mines his material for the unexpected, producing comic genius amidst the madness.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.