487 stories by "Cameron Kelsall"
The power of 'Kill Move Paradise,' James Ijames's bracing new play at the Wilma Theater, lies in its sad ambiguity. Cameron Kelsall reviews.
Bloated and self-indulgent, Trey Lyford's 'The Accountant' offers little insight on the banality of corporate culture. Cameron Kelsall reviews.
'Bon Iver Fights a Bear,' the latest work from playwright Douglas Williams, explores the hipster folk musician's origin story. Cameron Kelsall reviews.
The history of Jewish women takes center stage in 'Behold Her,' a Fringe Festival entry from Half Key Theatre Company. Cameron Kelsall reviews.
The history of Jewish women takes center stage in 'Behold Her,' a Fringe Festival entry from Half Key Theatre Company. Cameron Kelsall reviews.
'The Presented,' the latest one-person show from Chris Davis, gives off an old-school Fringe Festival vibe. Cameron Kelsall reviews.
Heiner Goebbels's 'Songs of Wars I Have Seen,' a curated Fringe Festival entry, awkwardly blurs the lines between music and theater. Cameron Kelsall reviews.
For this year's Fringe, Idiopathic Ridiculopathy Consortium puts an absurdist spin on Tennessee Williams's 'The Eccentricities of a Nightingale.' Cameron Kelsall reviews.
'Peter Pan' author J.M. Barrie's 'Mary Rose,' Philadelphia Artists' Collective's latest Fringe entry, tells a gorgeous ghost story. Cameron Kelsall reviews.
'Do You Want a Cookie?', a Philadelphia Fringe Festival offering from the Bearded Ladies Cabaret, explores cabaret's personal and political history. Cameron Kelsall reviews.
Unfortunately (considering the timing), Neil Simon's semi-autobiographical 'Biloxi Blues,' at Act II Playhouse, hasn't aged well. Cameron Kelsall reviews.
Shakespeare Theatre of New Jersey's 'Blithe Spirit' never settles for easy laughs. Cameron Kelsall reviews.
Jen Silverman's 'Dangerous House,' at the Williamstown Theatre Festival in Massachusetts, chronicles the perilous lives of LGBTQ people in supposedly progressive contemporary South Africa. C…
'Woody Sez,' in a return performance at People's Light, offers music for the moment. Cameron Kelsall reviews.
Shakespeare Theatre of New Jersey cranks up the carnage in 'Titus Andronicus' without shying away from the play's problematic treatment of women and race. Cameron Kelsall reviews.
Pennsylvania Shakespeare Festival's Extreme Shakespeare series presents an original-practices production of 'All's Well That Ends Well,' with confounding results. Cameron Kelsall reviews.
Lillian Hellman's 'The Children's Hour' remains powerful and thought-provoking, despite an uneven production from Princeton Summer Theater. Cameron Kelsall reviews.
Pennsylvania Shakespeare Festival's 'King Richard II' dumbs down one of the Bard's most complicated monarchs. Cameron Kelsall reviews.
'On the Exhale,' a gun drama from Theater with a View, shoots blanks. Cameron Kelsall reviews.
A stage adaptation of 'Shakespeare in Love,' at Pennsylvania Shakespeare Festival, coasts on a healthy dose of charm. Cameron Kelsall reviews.
Hedgerow Theatre Company's new adaptation of 'His Girl Friday' screws up screwball comedy. Cameron Kelsall reviews.
SoLow Fest entries 'Potts' and 'Table on Table on Table' offer new glosses on familiar stories. Cameron Kelsall reviews.
'Ragtime,' based on E.L. Doctorow's novel, remains strikingly relevant at Pennsylvania Shakespeare Festival. Cameron Kelsall reviews.
Disney's 'Aladdin,' presented by the Kimmel Center's Broadway Philadelphia, fails to cast a magic spell. Cameron Kelsall reviews.
Philadelphia Artists' Collective resurrects the melodrama with 'Maria Marten, or, The Murder in the Red Barn.' Cameron Kelsall reviews.
