In the ever-lengthening parade of revivals this season, why "Talley's Folly" is a puzzling question.
The gorgeous garden of the Bernstein score has been cultivated with humor and intelligence: no cutesiness, no compromises -- it's long, it's demanding but it's fine. And for a production without a…
"This is not our country. It belongs to the anointed goyim." Although "House, Divided" seems to be about the Israeli/Palestinian conflict, it's really about the America/Israel conflict over the…
Philly-based experimental troupe Pig Iron's new show is a faux quinceanera -- the traditional celebration of a Latina's coming of age on her 15th birthday.
The premise is clever, the allusions are clever, the one-liners are clever, but there's only so much cleverness you can take. "Wittenberg" is a Ph.D. thesis run amok -- a collection of footnotes that…
The U.S. premiere of Canadian Linda Griffiths' "Age of Arousal" is a tarted-up throwback, a "wild" reworking of George Gissing's 19th century novel "The Odd Women" without the Victorian shock value.
With 20 songs and an onstage klezmer band -- tuba, accordion and all -- you'd expect this musical to be, well, musical.
"Hearts of Man" is a self-important work that blurs the very distinctions it hopes to examine.
If Shakespeare's "Measure for Measure" is, in part, a meditation on death and transfiguration, Pig Iron Theater Co.'s riff on that famously unfunny comedy takes these subjects literally.
The fact that a story is true -- even if it's full of important issues and outrageous injustices -- doesn't necessarily make it dramatic, and Emily Mann's "Mrs. Packard" is more a theological soap…