Curio Theatre Company’s production of Beth Henley’s Pulitzer Prize winning tragicomedy, Crimes of the Heart, is the dark and hilarious tale of the Magraths — as twisted a set of sisters as you will surely ever meet.
Tessa Kuhn, Colleen Hughes and Rachel Gluck. Photo by Rebecca Gudelunas.
Crimes of The Heart, directed by Curio founding member Gay Carducci, is set in sleepy Hazlehurst, Mississippi, and presents a day in the life of sisters Lenny, Meg, and Babe Magrath, who all find themselves reunited unexpectedly at their Grandfather’s home.
Rachel Gluck plays eldest sister Lenny, who is celebrating her thirtieth birthday in typical Magrath fashion — alone and miserable. The play begins with her attempting to light a solitary candle atop the saddest birthday cookie, priming the audience for Crimes’ unique brand of melancholic humor.
Lenny, who is well on her way to spinsterhood, is brought vividly to life by Gluck — dejected mannerisms, southern drawl and all. She never once falters as the lovable, monotone, frump.
Colleen Hughes plays middle sister Meg, fresh from a California mental institution following the dissolution of her singing career. Hughes gracefully bounds about the stage, defiant in the face of her own crumbling life, and provides the perfect yin to Gluck’s downbeat yang.
Meg, a master in the art of passive aggression, seems to antagonize Lenny by her very presence. Much of the tension in the play is built upon their craggy relationship — and yet even as they are at one another’s throat, the audience roared with laughter, a testament to the sardonic humor the play shrouds itself in.
Colleen Hughes, Rachel Gluck and Tessa Kuhn. Photo by Rebecca Gudelunas.
Tessa Kuhn plays Babe, the angelic-faced youngest Magrath sister who may or may not be guilty of attempted murder of her abusive husband. Kuhn reminded me of a grown-up Alice in Wonderland — out of the rabbit hole and into the terrifying world of marital anguish.
The play revolves around Babe’s pending trial, her defense, and her grappling with the reality of an utterly bleak future. She, not to be outdone by her big sisters, is a character racked in pathos and dark comedic gold.
Supporting the loathsome and lovable trio is Lesley Berkowitz as Chick Boyle, the sisters’ condescending cousin. She’s perfect as the pompous, type-A ditz you can’t help but smile through your teeth at. Harry Slack plays Doc Porter, Meg’s laid-back former lover, and Chase Byrd plays Barnette Lloyd, Babe’s goofy defense attorney with a score to settle.
The play takes place entirely in the Magraths’ kitchen – but thanks to clever lighting design by Tim Martin, the passage of time, from afternoon to the early hours of the following morning, is clearly shown. Set designer Paul Kuhn also made the most of the minimalist set by constructing the outline of a house around the kitchen, giving the audience the illusion of loving home. Aetna Gallagher’s costume design was a perfect time capsule of the early eighties, making for a true period piece.
In a play which left the audience in a constant chorus of gasps and laughter, it would be hard to pick a standout. It was a joy to watch each actor breathe life into their characters — characters that will make you laugh, even if you should probably be crying.
Running Time: Two hours, with one 15-minute intermission.
Colleen Hughes, Tessa Kuhn and Rachel Gluck. Photo by Rebecca Gudelunas.
Crimes of the Heart plays through December 9, 2017, at Curio Theatre Company, performing at Cavalry Center for Culture and Community – 4740 Baltimore Avenue, Philadelphia, PA 19143. For tickets, call the box office at (215) 525 1350, or purchase them online.
An antagonym is a word with two opposite meanings, such as “left” which can mean “remaining” or “departed.” Rachel Gluck’s world premiere Antagonyms at Curio Theatre Company (“Curio”) centers around four young people who embody the deception and double-meaning intrinsic to that grammar anomaly. As the play begins, we meet Jonny (Andrew Carroll) and Mauve (Colleen Hughes), who are a rather odd couple. Jonny is a recovering alcoholic and artist, while Colleen is an uptight accountant. At a bar, with third wheel Charlotte (Alexandra Spadoni) in tow, they unexpectedly reunite with Mauve’s estranged brother Dorian (Alexander Scott Rioh). Charlotte and Jonny have a tumultuous history of lust and passion, and she has a knack for pushing Jonny dangerously close to the edge. And when Charlotte falls for Dorian, unrequited love rises to the surface and games of power and deception threaten their relationships, as well as their very lives.
Antagonyms takes place in present-day West Philadelphia but feels like an old-school noir film. Director Jack Tamburri elicits a nostalgic feel to the piece. There are dramatic pauses as Jonny takes cigarette breaks in the alley, illuminated by Dom Chacon’s sultry lighting design and sound designer Liz Atkinson’s moody saxophone-centric lounge music layered on top of silence and dialogue. Antagonyms ultimately succeeds because Tamburri and the actors create a believable world with real people inside, even though the dialogue is full of wordplay and droll, poetic verbal spars that may have been ripped from Casablanca. And indeed, they reference Casablanca throughout, a point-of-reference for their ideals of love and perhaps an inspiration of Gluck’s when writing the play.
Alee Spadoni. Photo by Rebecca Gudelunas.
Paul Kuhn’s set also juxtaposes the contemporary setting; always visible are a seedy saloon, and Charlotte’s brick-wall bedroom full of vintage furniture and tchotschkes. The visual and aural world Tamburri and designers build for Curio’s small black box theatre is remarkable. Gluck writes witty dialogue with a deftness that takes other playwrights several plays to achieve.
Playwright Rachel Gluck. Photo courtesy of Curio Theatre Company.
The play’s youthful voice with a retro tone crafts a unique vision of West Philadelphia, where Curio resides. Dorian, a transgender man, who is played by trans actor Alexander Scott Rioh, subverts and adds depth to noir film archetypes. The femme fatale Charlotte (a memorable performance by Spadoni) challenges the sexism inherent in that role; Charlotte is accused of playing with hearts despite the fact that she makes her intentions with her lovers quite clear. Even though she does revel in attention of men who can’t control their primal urges, she’s perhaps the most honest character of them all. There is also a funny meta-theatrical moment early on, illuminating the noir genre’s sexism, when Mauve declares “This is the first conversation we’ve had that passes the Bechtel test and all we’ve talked about is shoes!”
In these dark times, theatre like this provides hope for the creative future of the Millennial generation.
Running Time: Two hours, with a 10-minute intermission.
Antagonymsplays through December 17, 2016, at Curio Theatre Company – 4740 Baltimore Avenue in Philadelphia, PA. For tickets, call (215) 525-1350, or purchase them online.
Three annual Fringe favorites have chosen to remount a past hit for this year’s festival, giving audiences a chance to see the acclaimed works they missed, or to revisit the shows they loved. I had the opportunity to discuss the new 2016 Philadelphia Fringe Festival productions of Spherus with Innovative Juggler Greg Kennedy, Antiherowith Tribe of Fools’ Terry Brennan, and Eugène Ionesco’s The Chairswith Tina Brock from the Idiopathic Ridiculopathy Consortium, to get their insights into the popular productions and their specific reasons for presenting them again.
DEB: Why did you decide to remount a past work for this year’s Fringe?.
Terry Brennan. Photo by Plate 3 Photography.
TERRY: I think we have a very good reason: the world feels a lot more violent now than it did in 2013, when we premiered Antihero. At the time when we first decided to remount it, during the primary elections, Trump wasn’t really a motivation for doing it. But since then, the language of violence and bigotry has become so rampant in mainstream culture and politics; it’s almost doubled, or tripled. I see that kind of escalation in so many more places now than ever before, so we wanted to make that point again with the show.
Tina Brock. Photo by Paul Sirochman Photography.
TINA: In 2009, The Chairs was the IRC’s first production in a venue outside of L’Etage Cabaret, where we began in 2007. We only did seven shows at Society Hill Playhouse, and the run sold out within a very short time of its opening. This year the IRC marks its tenth anniversary, and it seemed appropriate to celebrate with a remount of a show many people still point to as one of their favorites. The themes in the play, while always timely, seemed particularly so this year; it’s hard to listen to the news and not feel some sense of Ionesco’s focus on the lack of communication and the inability of language to express certain states of being and ideas.
Greg Kennedy. Photo by Colleen Joy.
GREG: I wrote Spherus four or five years before I left to tour withCirque du Soleil; it was designed to be glowing with light. But now technology has improved, so I felt it was time for an update. I sat down with my assistants and used some of the 3D mapping that had since been developed, to create a set that would match each scene. We now have very specific lighting from video projections that complement and interact with the performance. For example, in one scene we have white cardboard boxes, and with the new software, we can do three projections at once, in tandem. Other projections include the image of Leonardo da Vinci’s Vitruvian Man and willow trees blowing in the wind, which give the show a very organic feel. Every year, around February, I start thinking about the Fringe and what to do, so with the new tools that are available, I felt that this was a good time to bring back Spherus.
What about the show is indicative of your signature style?
Colleen Hughes, Kyle Yackoski, and Leah Holleran in Tribe of Fools’ ‘Antihero.’ Photo by Lewis Harder.
TERRY:Antihero is filled with heightened physicality, and at Tribe of Fools over the past five years, we’ve focused on how to tell a story through movement and gesture, with parkour, acrobatics, and stunts. This production is the most acrobatic-heavy of all the shows we’ve done, with twists, jumps, and flying through the air! We have stylized fight scenes: some of the gestures are threatening, and some are not; some of the fights are real confrontations between the characters, and some take place only in their minds. The tone is almost like an action movie or a video game. We poke fun at the casualness of the violence, while making a relevant statement about the brutality we all see on a regular basis.
Tina Brock and Bob Schmidt in Eugène Ionesco’s ‘The Chairs’ at Idiopathic Ridiculopathy Consortium. Photo by Johanna Austin/AustinArt.
TINA: All the elements of an absurdist IRC production are consistent with and present in The Chairs! There is the humor, which is absolutely necessary in everything; its absence would be the downfall of the show, of one that does not resonate. There is clarity in the language, in making sense out of what, to many, seems like nonsensical dialogue. Some of the language is an attempt to show the disintegration of language and the banality of our conversations, and some sections use language as an emotional barometer. Instead of moaning, or screaming, or crying, the action is the use of language in a different form, to exchange emotional content. The characters are loud, they are overwrought, they are acting– this is what must be present to create the ridiculous world of the play. The design, too—thoughtfully executed by Lisi Stoessel, Erica Hoelscher, and Robin Stamey—are greatly accentuated to heighten the point and the experience. We are grounded in reality and then pushed that extra length, not to be silly, not to be broad, not for the sake of trying to be funny, but to bring out the underlying sadness and deep ennui that drives the reason for the play, and for absurdist theater in general, to which IRC is dedicated. Without setting those elements correctly, the audience is led to believe that they are experiencing psychological realism. This play is not that, and Theater of the Absurd is not that, and IRC is not that!
6. Greg Kennedy, Christine Morano, and Rachel Lancaster in ‘Spherus.’ Photo by Neon Raine.
GREG:Spherus presents a very modern form of juggling based on engineering. I used to be an engineer (I took five months off from my job in the 1990s, and never went back!), but I took the knowledge from my background to create a blend of science with art. The show includes structural geometric shapes, including two dancers– Rachel Lancaster and Christine Morano—manipulating a giant helix in space, with beautiful light and changing colors. I use engineering and the latest technology to highlight the performances more in all of my shows, and specifically for this one, the advanced 3D video mapping software and projections.
What’s your favorite memory from your previous production?
TERRY: In the second–to-last scene–the last big group scene–the character of a twelve-year-old boy who got kicked out of the comic book store comes back and tells everyone that he found the ultimate superhero of the universe, Aquaman. Tim Popp improvised, and it was a genius moment! I wrote it down on the spot; I wanted to transcribe the full monologue, so he could do it the same way every time. And I included it again in this current production.
TINA: Performing in Society Hill Playhouse was a favorite! The walls were filled with framed posters from many Ionesco and Beckett productions from the late 1950s and ‘60s. It was wonderful to think about what those productions might have been like, and how audiences would have reacted. You could feel the history in the building and on the stage. I also remember how students really connected with the story, regardless of its characters being many generations older than they were. There is an accessible universal story here and a way in for all ages.
GREG: All sorts of funny things happened during rehearsals. We do one piece in the show with a tangle of gymnastic ribbons on wands. When we were first getting used to the routine, we kept getting tied up in them, which was especially funny because it was supposed to be a gentle graceful piece!
Have you made any changes in your show this time around?
TERRY: We made a few. We were very happy with the 2013 show, but we wanted to update it, and to fix some things from the first production. I did some retooling of the opening fight scene, and the second half of the show seemed a little slow-paced, so I reordered some of the scenes and cut some to make it move faster. I also added more material for Colleen Hughes’s character Jennifer Walters—a feminist PhD student researching the impact of popular fiction on our moral viewpoints–to do her more justice.
TINA: The Old Woman’s costume is a little grander, though the Orator’s is still the same. At this time, seven years since we first performed the show, we are in a more tragic place it seems. And yet to me this play is tame compared to recent tragic events in our world. To address that difference, the play needed to be pushed out there just a bit more, and the elements needed to be a bit stronger. The ceiling at Society Hill Playhouse was much higher, so some of the emotion could float into the rafters. Here in Walnut Street Theatre’s Studio 5, the play reads as much more claustrophobic, much more desperate, and I think that reflects where we are today.
GREG: With the new 3D mapping tech, we have images changing with the music throughout the show. We also worked in some new routines, as well as revamping and updating the old ones.
What makes this show especially appropriate for the Fringe?
TERRY: Even though Antihero has elements of a standard play, with a storyline and characters, there’s also a lot of physicality. Many of our stunts are stylized; they’re big and over the top. I think the biggest thing is the police tap dance. Where else can you see that?!
TINA: After watching the conventions this summer, it was hard not to see on stage the old Punch and Judy puppet shows that Ionesco was so fond of, and that he indicated must be present in tone to create the world of the play. They influenced his writing and his desire to present a different form of theater, beyond the boulevard theater that was so popular at the time. His work has been ‘fringe’ since its very inception, so this show fits the festival perfectly!
GREG: Fringe is about growth and taking chances. That’s why I do it every year.
Thank you, Terry, Tina, and Greg, for sharing your views on these favorite shows. I hope audiences who missed them last time around will catch them this time, and those who enjoyed them before will go again to see the updated versions!
https://www.youtube.com/watch?v=K-jNFJi-cvg
Spherusplays through Sunday, September 25, 2016, at The Philadelphia School of Circus Arts – 5904 Green Street, Philadelphia, PA.
Antiheroplays through Friday, September 23, 2016, at Tribe of Fools, performing at Painted Bride Art Center – 230 Vine Street, in Philadelphia, PA.
Eugène Ionesco’s The Chairsplays through Sunday, September 25, 2016, at the Idiopathic Ridiculopathy Consortium, performing at Walnut Street Theatre, Studio 5 – 825 Walnut Street, in Philadelphia, PA. For tickets, call the FringeArts box office at (215) 413-1318, or goonline.
In a theatre festival with a sometimes overwhelming number of shows, there’s only one show where you’ll see actors flipping off walls, a real-life Street Fighter battle, and show-downs with the Philadelphia Parking Authority.
Tribe of Fools’ Antihero, playing in the Painted Bride Art Center, is a raucous comedy that boasts an impressive combination of razor-shop dialogue, feats of virtuosic physicality, and some in-your-face truth laying down. Directed by Terry Brennan and written by Brennan, Nick Mazzuca, and Peter Smith,
Antihero revolves around the story of two white male nerds: Parker Peters (Kyle Yackoksi), a rule-loving Superman fan with a secret identity and the Man Without a Name (Smith), a batman idolizer dead set on carrying out a vigilante campaign against the PPA. Parker and his ideological opponent face off in their favorite comic store, watched by the store manager (Zachary Chiero) and Simone (Colleen Hughes) – a graduate student writing her thesis on “the contemporary regressive post-adult male.”
Kyle Yackoski and Peter Smith face off. Photo courtesy of Tribe of Fools.
The script moves at a fast clip, Mike Cosenza’s fight choreography is as hilarious as Brennan and Co.’s script, and the athletic ensemble (filled out by Tara Demmy, Leah Holleran, and Joseph Ahmed) hit consistent laughs. Yet Antihero isn’t all fun and games. The first scene sets the comic store crew against a serious backdrop: the violent police killing of a suspected shoplifter.
In between the jokes, Antihero tackles racism, sexism, toxic masculinity, and institutional corruption. It’s an important choice to bring up and make room for such topics, but sometimes there is a sense that these myriad issues are being treated too lightly. Tribe of Fools states that they make, “complicated and difficult themes accessible and identifiable to the audience,” but in Antihero they also run the risk of depicting the issues themselves as something that can or should be laughed at.
Ultimately, Antihero, with its stellar comedic performances and an unexpectedly intense and moving ending, is never a dull ride. It’s well worth braving your own run in with the PPA to go see.
Running Time: Approximately 90 minutes, with no intermission.
Antihero plays September 12-23, 2016 at The 2016 Philadelphia Fringe Festival performing at the Painted Bride Art Center – 4th and Vine Streets, in Philadelphia, PA. For tickets, call the box office at (215) 413 1318, or purchase them online.
Telling stories is what the Irish are known for, and Martin McDonagh’s The Cripple of Inishmaan, directed by Joshua Browns at Curio Theatre Company, does not disappoint. The rumors are as reliable as the people telling them, which makes for fine story-telling and wickedly funny moments.
Cripple’s world, much like that of J.M. Synge’s, is set in rural Ireland and centers around the lives of those who are stuck between the way things are and they way they wish they could be. Not only are the characters in this land of flux, but the time period as well, stuck between the old ways and the emerging modern times.
Pete Danelski (Billy). Photo by Rebecca Gudelunas.
The play is set off the coast of Ireland, on the isolated Aran Islands in 1934. Daily life for the small island of Inishmaan is interrupted by news of film being filmed on a neighboring island. The cast of quirky characters begin to swarm into the local shop owned by Eileen (Trice Baldwin) and Kate (Aetna Gallagher) looking for more stories and spilling some secrets of their own.
Trice Baldwin, plays every single beat with professional perfection and has the audience rolling in their seats with her spot-on comedic timing. This is an actor we wish could be in every show. Aetna Gallagher plays a lovely counterpart to Baldwin and the two of these ladies together are a force on the stage. The Ring Leader of the Rumor Circus is Johnny Pateen Mike, played by the marvelous Paul Kuhn. Kuhn pushes the story forward with wry humor and impeccable timing. Johnny Pateen’s scenes with his mother, Mammy, played by the incomparable Peggy Smith are charmingly disturbing. The doctor of the town, Dr. McSharry (played by Robert Ian Cutler) often plays the middleman to the madness.
While many of the young folk in the town rush at a chance to be in the film, Cripple Billy, or “Just” Billy, played by Peter Danelski, rushes at a chance to break out of boredom, ridicule, and the everyday life of the Island. Peter Danelski tackles the challenging role with ease and finds an incredible balance of nuance, charm, and sadness. His physical work is inspiring to watch as he moves his twisted limbs about the stage. On top of this, Danelski finds a truthful somberness that seduced me into devastation and glee.
Helen (Colleen Hughes) the cursing firecracker, and Bartley (Andrew Carroll), the possibly “touched” brother, divulge to Billy that they convinced BabbyBobby (Steve Carpenter) to take them to the filming. Billy convinces BabbyBobby to take him along to the filming after offering a tragic tale that really sets the rumor mills turning. BabbyBobby was perhaps one of the most complex characters on stage, going from a mysteriously brooding Seaman, to a friend we’d all like to have, to the man of your nightmares.
Trice Baldwin-Browns, Andrew J. Carroll, Colleen Hughes, Aetna Gallagher and Steve Carpenter. Photo by Rebecca Gudelunas.
Martin McDonagh’s writing is often as harsh as a slap in the face, but the wit is so quickly and fiercely delivered that you forget you were hit in the first place. The sting is replaced by a laugh and the play continues on to deliver blow after marvelous blow.
At my performance, the fight choreography by John Jezior was hastily executed, and some of the dialects slipped in and out for some of the actors, and appeared to come from different parts of Ireland. I am confident that this has been rectified for the next performance.
Paul Kuhn and Peggy Smith. Photo by Rebecca Gudelunas.
The set, designed by Paul Kuhn, rotates to transport the audience into completely different landscapes within seconds. Each room keeps the authenticity of the bleak and often gruesome reality of life in Rural Ireland. The Sound Design by Susan Adelizzi is hypnotizing, especially in the scene with Billy and BabbyBobby, where there are dull sounds of the ocean throughout. The lighting, designed by Robin Stamey, feels like a painting by Norma Wilson, both tranquil and daunting, without giving away any secrets. The use of the single light above Billy’s head was particularly memorable, as it gave a picture right away of a stark and bare place, while the audience was getting a rare lone glimpse to the inside of Billy’s mind. The costumes, designed by Aetna Gallagher, had an authentic feel and helped place us immediately in Rural Ireland.
https://youtu.be/2qr3DRwjXZQ
I admire that Curio Theatre trusts its actors to tell the story. While the set, designed by Paul Kuhn, is nothing short of genius, this story could have been told with two black boxes and had still been just as masterfully crafted.
Curio Theatre Company’s The Cripple of Inishmaan is a delightfully sinful production. The entire ensemble has created a spectacular world that invites everyone to relish in the delicious gossip being spread around Inishmaan. Don’t miss it!
https://youtu.be/2qr3DRwjXZQ
Running Time: Two hours, with one intermission.
The Cripple of Inishmaanplays through May 21, 2016 at Curio Theatre Company, performing at the Calvary Center- 4740 Baltimore Avenue, in Philadelphia, PA. For tickets, call OvationTix at (866) 811-4111, or purchase them online.
Note: Peter Danelski is a writer at DCMetroTheaterArts and this did not influence my review.
Arthur Miller’s Pulitzer Prize-winning classic, Death of a Salesman, is being given a powerful production at the Curio Theatre Company. In an intimate setting, the themes of the American Dream, and how it can destroy an entire family when unfulfilled, are still powerful and relevant.
Gay Carducci-Kuhn and Paul Kuhn. Photo by Rebecca Gudelunas.
Paul Kuhn convincingly portrays the struggling salesman – Willy Loman – and was particularly emotional in his scenes that are filled with excitement and anger. His physical presence was also strong, particularly in moments of silence. A standout scene for Kuhn was his interaction with Howard, played by Robert DaPonte, when asking for a change in his job status, as the power struggle here was apparent and painful.
Aaron Kirkpatrick as Willy’s older son, Biff Loman, gave a commendable performance. The relationships he established were strong, and his internal struggle between finding self-fulfillment and his sense of duty was evident. When he really lets himself feel this struggle, such as in the restaurant scene with his father Willy and his brother Happy (Chase Byrd) his performance was riveting.
Gay Carducci as Willy’s burdened wife, Linda Loman, gave the most endearing performance of the night. While this may appear to be a story about Willy, in many ways it is about her quieter misfortunes as well. Carducci was convincing, displaying the woes of the Loman family from the get-go.
Chase Byrd’s chimes in with an emotional performance of Happy Loman, the youngest Lowman son, who is running interference with the rest of the family, and who wants to make them happy, but believes he does not need to be truthful to do so. This stands in opposition to his older brother, and the two brothers, played by Kirkpatrick and Byrd, highlight this key difference between them well in each scene where they dominate the stage together.
Brian McCann, as both the neighbor Charley and the memory of Uncle Ben, delivered an outstanding performance. His ability to smoothly transition between these two characters without question was impressive. While Charley is a more understanding and welcoming character, Uncle Ben serves as the shadow of all of Willy’s perceived failures. Despite these differences, McCann was still able to maintain the connecting factor of each character: a sense of pity and judgment upon Willy. Similarly, Robert DaPonte and Colleen Hughes both serve the ensemble well through their many changing hats, as each performed several characters.
Set in the round, Director Dan Hodge artfully used this setting to allow a sense of voyeurism into the crumbling life of the Lomans. He really allowed the actors to inhabit the space in an authentic way, which made it easy for the audience to connect to their own sense of family and home. Individual mention of his artistic team must be given as well for their ability to create a world that enhanced, but did not overpower, the storyline.
Gay Carducci-Kuhn, Chase Byrd, Paul Kuhn, and Aaron Kirkpatrick. Photo by Rebecca Gudelunas.
A special tip of the hat should go to the dramaturg Cissie Reynolds, who helped build an incredible flashback to the fifties through the costumes, designed by Aetna Gallagher, and the set by Steve Hungerford. The lighting and sound, by Tim Martin and Kyle Yackoski respectively, also added great clarity to the muddled mind of Willy. When Willy would mentally lose himself in another time, the lighting followed him through colors. Yackoski’s perfectly-timed sound, in turn, heightened the emotional intensity of the storyline, whichever way it was headed.
I highly recommend a visit to see Curio Theatre Company’s powerful Death of a Salesman. Although Arthur Miller’s play was written nearly sixty years ago, the Curio Theatre Company reminds its audience that its themes of unfulfilled dreams and conflicted families are as poignant now as they ever were.
Running Time: Two hours and 30 minutes, with an intermission.
Death of a Salesman plays through March 5th, 2016 at the Curio Theatre Company – 4740 Baltimore Avenue, in Philadelphia, PA. For tickets, call (215) 525-1350, or purchase them online.
