486 stories by "Cameron Kelsall"
Adam Bock's nuanced, moving 'A Small Fire' is the most satisfying production Philadelphia Theatre Company has delivered in years. Cameron Kelsall reviews.
Inis Nua's 'The Night Alive' is a disappointing first foray into the canon of Conor McPherson, Ireland's most notable living playwright. Cameron Kelsall reviews.
Arden Theatre Company's season-opening production of 'Ragtime' is the most intimate critic Cameron Kelsall has ever seen. It's also the least successful.
Part hagiography and part Wikipedia entry, McCarter's 'Gloria: A Life' skims the surface of Steinem. Cameron Kelsall reviews.
Lantern Theater Company's production of 'The Resistible Rise of Arturo Ui' seems curiously stripped of its authoritarian subtext. Cameron Kelsall reviews.
David Hare's 'The Breath of Life,' at South Camden Theatre Company, tells a story of women through the male gaze. Cameron Kelsall reviews.
The national tour of 'Cats' offers a flea-bitten night at the theater. Cameron Kelsall reviews.
'Legally Blonde: The Musical' at Walnut Street Theatre is relentlessly charmless and dreadfully dated"but at least there's a cute dog. Cameron Kelsall reviews.
Caryl Churchill's polemical drama 'A Number' receives a stunning, thought-provoking production from People's Light. Cameron Kelsall reviews.
The actors in David Hare's 'Skylight' prepare a pasta dish live on stage. It smells delicious, but we leave the stodgy drama feeling emotionally and intellectually starved. Cameron Kelsall r…
The newly formed Subscension Theatre offers a scrappy yet ambitious production of Brecht's antiwar drama 'Mother Courage and Her Children,' performed al fresco in Headhouse Square. Cameron K…
'12 Chairs' leans into familiar tropes about the mother-daughter dynamic in its world premiere with Juniper Productions. Cameron Kelsall reviews.
'An Infinite Ache' at South Camden Theatre Company offers a stale portrait of what it means to be part of a couple. Cameron Kelsall reviews.
A strong season of local August Wilson productions continues with 'Fences' at University of Delaware's Resident Ensemble Players. Cameron Kelsall reviews.
Two operas written nearly a century apart consider the familial wounds that time doesn't heal. Cameron Kelsall reviews.
Extraordinary singing from several locally trained performers salvages Opera Philadelphia's vulgar, high-concept 'La Bohème.' Cameron Kelsall reviews.
Sarah Ruhl's moving family dramedy 'For Peter Pan on Her 70th Birthday' receives an uneven staging at People's Light. Cameron Kelsall reviews.
The national tour of 'Anastasia,' at the Academy of Music, delivered on spectacle but not coherent storytelling. Cameron Kelsall reviews.
Gabriel Jason Dean's 'Heartland,' at InterAct Theatre Company, gets awkwardly stuck between kitchen-sink drama and didactic political play. Cameron Kelsall reviews.
New York's Classic Stage Company revives the legendary 'The Cradle Will Rock', by Philadelphia-born composer Marc Blitzstein. Cameron Kelsall reviews.
Philadelphia Artists' Collective's 'Tis Pity She's a Whore' is revenge tragedy done rippingly right. Cameron Kelsall reviews.
'How to Catch Creation' launches an ambitious, important push for greater representation at Philadelphia Theatre Company, but Christina Anderson's play feels frustrating and predictable. Cam…
'The Few' considers the desolate lives of long-haul truckers, but Theatre Horizon's production of Samuel D. Hunter's play sets an inconsistent tone. Cameron Kelsall reviews.
EgoPo Classic Theater concludes its South African season with two perspectives on life under apartheid. Cameron Kelsall reviews.
'Marvin's Room,' presented in a revival by Isis Productions, considers the emotional labor of familial obligation. Cameron Kelsall reviews.
