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 At Mum Puppettheatre, art moves, literally and figuratively.
Robert Smythe was five years old when he realized he wanted to start his own puppet theater. |
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 A Return to Philadelphia in Backward and in Heels
Add one gallon of talent, a pint of flexibility, six cups of dance and a hardy helping of humor and what do you get? The cure for the winter blues—David Parker and The Bang Group, a creative stew consisting of vaudevillian, old Hollywood, and contemporary dance. Even after performing for more than a decade, David Parker and The Bang Group still leave audiences hungry for more. |
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 Philadelphia Theatre Company Builds New Home
Like this city’s tradition of serving five-star cuisine at hole-in-the-wall BYOBs, our small theater companies, which rent church basements and garages, use folding chairs and even flashlights, are renowned for serving their own kind of top-notch fare. They don’t have patrons to pander to, grants to guild with glory, or exorbitant fees that send them into a tizzy of sure hits. Instead, they produce the kind of cutting-edge work that brings many back, regardless of legroom, air circulation, or other such amenities. Until recently, Philadelphia Theatre Company was one such organization. But now everything’s changed. |
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 You don’t have to trek all the way to New York City to experience the thrill and excitement of a professional live theatrical performance. It’s all right here at the prestigious Bristol Riverside Theater, Bucks County's first Equity Regional Theatre. |
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 You Don’t Have to Hit a High A to get on Stage at the Opera.
The year was “1783” and Frank Frissora of Bryn Mawr and Beryl Byles of Newtown Square were about to share a first kiss in the Reichsstadt of Wetzlar, in celebration of their golden anniversary. But then they got pulled apart.
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 Fore a nearly a decade, Theatre Exile has developed a reputation for its brand of gritty reality—a nakedness of emotion, a psychological plummeting and pummeling. So it comes as a bit of a twist when Producing Artistic Director Joe Canuso says he directs from inside his dreams.
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 Violinist Francesca dePasquale lives in a world of music. It’s
something she was born into and she can always remember being there for
her. “From day one I have been surrounded by music,” she says.
“Everyone I knew and love played an instrument so it was natural for me
to want to do it as well.”
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 When Steve Blumenthal made the decision to open a professional theater
in Montgomery County in the 1990s, he had difficulty finding the
perfect location. In fact, it took six years.
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 With swooping, gestural strokes and bold use of color, Allen Bentley uses dancing as a metaphor, a tool for telling his narratives. However, what is truly intriguing about his work lies under the surface. His work is all about human contact; not the dance itself, but what the dance represents. Bentley uses the dance as a symbol of the constant struggle in relationships—the push and pull that exists as part of the human condition we can all identify with. “I’ve been dealing with the idea of relationships, and so that’s a very important term in my painting,” says Bentley. “The relationship between people…there’s a give and a take. Good times, bad times, compromises—and it’s all this crazy balancing act, swirling thing. That naturally led to dancing. It became a perfect metaphor.” |
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 A historic movie house, once famous for vaudeville and silent screen villains, finds new
audiences as a cultural center and fi lm institute.
The lights of yesteryear Hollywood are shining bright again on Lancaster Avenue in Bryn
Mawr. The once age-weary Bryn Mawr Theatre has found new life, and some new sparkle,
as The Bryn Mawr Film Institute.
“We are preserving a beautiful structure, showing the best films and contributing to the economic
growth of the community,” says Juliet Goodfriend, the Bryn Mawr Film Institute’s founder and
president. “We’ve taken a three-pronged approach—to show the best in independent, art, and great
classic films.”
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