Shakespeare-production concept choices sometimes feel like a game of Pin the Tail on the Donkey; feudal Japan gets the random ass-poke in Lantern's staging of Julius Caesar.
Frenchman Jean Giraudoux’s 1938 fantasia splendidly proves fairy tales are not just a children's realm.
While it initially seems to fit a familiar Odd Couple sitcom groove, Trousers isn’t a punchline comedy, but rather a character study about how men grow up.
Johnna Adams’ Gidion’s Knot has all the makings of an ideal InterAct play: meaty discussion, complex issues and no easy resolutions.
Cherokee is a messy play that strains credulity and defies expectations — which doesn’t mean it isn’t worthwhile.
Ibsen’s 1881 family drama is a condemnation of rigid Victorian society’s mistreatment of women usually overshadowed by his more famous dramas A Doll’s House and Hedda Gabler.
Seeing this intimate and powerful play live in a small theater makes the Walnut's revival worthwhile.
Havertown playwright Kate McGrath explores the nation-changing 1911 fire at an NYC factory owned by the Triangle Shirtwaist Company in her new one-woman play.
Hedgerow Theatre revives Off-Broadway's longest-running nonmusical, which explores how the world changed for American women in the 1960s and '70s.
[Dec. 31] Philadelphia's ComedySportz finishes its 20th year with two celebratory shows, featuring rarely played games and a midnight countdown.
The Lantern Theater Company stages Dylan Thomas' lush prose poem.
Admit it: Shakespeare's comedies are stupid. At least, that's what Harry Slack's silly and sublime new play posits.
The Arden's adaptation of Louis Sachar's tales for kids is brilliantly fun.
Dan Olmstead's sincere, unaffected performance as Richard Nixon is a highlight of New City Stage's terrific production.
[through Dec. 22] David Sedaris' entertaining 1992 holiday memoir has become a national holiday staple in Joe Mantello's stage adaptation.
[Dec. 13-15] The play lab program helps playwrights develop new work in a safe, nurturing environment.
[through Dec. 22] Winner of four Barrymore Awards, this Pig Iron production brings its spunky irreverence and loopy aesthetic to the intimate FringeArts space.
[through Dec. 31] The Big Time surpasses homage and imitation, creating a show that's recognizably inspired by vintage vaudeville, but also refreshingly modern.
[Dec. 9] Expect a broad and bawdy definition of "holiday-related," from 13 performers who between them have worked on over 40 Quince shows.