This Much I Know

              

                                              Mark Worth, Jessica DalCanton & Sorab Wadia

InterAct Theatre Company is presenting the Philadelphia Premiere of This Much I Know through November 22, 2026 at The Proscenium Theatre at the Drake. Three actors, Sorab Wadia, Jessica Dalcanton, and Mark Worth play more than a dozen roles across genders, generations, continents and ideologies. The play begins with Sorab Wadia, as narrator, speaking to the audience about making inferences or connections to two things that are not related. He does this by showing a projection of peaches and then one of slugs and asks how many would want a peach from the first offering. A moment later an announcement is made that there is a fire on a floor above requiring immediate evacuation. Not sure whether or not this is part of the show, everyone quickly files out of the theatre space and congregates outside. By the time everyone is outside, an all-clear  signal is issued, a sign to return to our seats. Presumably this fire-drill only happened on opening night, but perhaps it is part of the show- a random accident that our brains are trying to bring to order. Jessica DaCanton is excellent as Svetlana, Stalin’s daughter and, decades later, as Natalia, Lukesh’s wife, who disappears to Russia seeking information about Svetlana and her grandmother generations earlier. Mark Worth shows great depth as an actor as he plays the silly role of a young girl (see photo),  a son of an American white supremacist and the subsequent questioning of the ideals he has been raised with, and several roles in Russia. Sorab Wadia is the cement of this piece. He begins as a narrator, addressing the audience; he performs as a psychology professor, calmly working with Harold, tutoring him and getting him to question his father’s beliefs; and periodically he has scenes with his wife, Natalia and/or discussing her with the audience. The set design is outstanding in its simplicity. Walls are pushed around to present furnishings and another scene on the other side. Backdrops are provided for projections. In two scenes, it appears that Natalia is on a train with scenery passing by her. One remarkable scene has Svetlana interacting with a life-like projection of Natalia ( or perhaps Natalia's grandmother). This play is sometimes confusing as the time jumps back and forth from the present to the 1930’s and back again, but the acting and the staging certainly make it well worth your while to get tickets to see it. For tickets or more information,  visit https://www.interacttheatre.org/this-much-i-know or call 215-568-8079.

The Melting Pot

                                           J. Hernandez, Adam Galloway & Adam Pelta- Pauls

Philadelphia Artists’ Collective and Theatre Ariel are jointly producing The Melting Pot in Old City. It can be seen at Arch Street Meeting House, 320 Arch Street, through November 8, 2026. Israel Zangwill first produced his play in 1908, but many tenants of the original manuscript hold true today. David (Adam Galloway) lived with his observant Jewish uncle (J Hernandez) and grandmother. His immediate family were all killed in the Russian pograms and he eagerly emigrated to America, leaving behind his cultural identity. A very talented musician, he composes an orchestral piece that speaks to the immigrants of America, believing all are in one large “crucible”. David is very naïve in his belief as the times are rife with antisemitism. Herr Pappelmeister (Adam Pelta-Pauls) is willing to overlook his background and produce his work as he recognizes its genius. David and Vera (Lexi Thammavong), daughter of a Russian Baron have a complicated relationship. J. Hernandez gives an outstanding performance when he explodes upon hearing that the two of them are “in love.” Yet later, when the Baron argues against the young couple's relationship, and Vera leaves her father and offers to follow David’s people, David pushes her away. David so strongly believes in the universality of one big crucible that is America, that he feels he must push down his individual cultural heritage. This perhaps makes it easer for David and Vera to reunite. Vera’s performance is excellent. Her facial expressions are gripping. She sometimes has her back partially away from the audience and she could be better “miked.” David’s voice is very low and his microphone could be better situated as well.

The Addams Family: The Musical

 

Wednesday Adams (Abbie Parker) saying to her father, Gomez Addams (Damon Bonetti)  

"You promised, Daddy."

Walnut Street Theatre is producing The Adams Family: The Musical through November 1 on its mainstage. This is a delightful experience from the opening moments to the closing bows. Wednesday Addams has fallen in love and wants her parents to meet him and his family and act “normal.”  The  music is “relatable”, the melodies are “catchy” and the talent is mind-boggling. The Addams Family: The Musical has a large ensemble cast. Morticia Addams (Lindsey Bliven), Gomez Addams (Damon Bonetti), Wednesday Adams (Abbie Parker), Pugsley Addams (Kiernan Gallagher), Uncle Fester (Kelly Briggs), Lurch (Aren Duffy), Grandma, (Mary Martello), Mal Beinke (Don Daniels), Alice Beineke (Christina Stroup) and Lucas Beineke (Galen Graham) all have at least one solo. It is unusual to have everyone sing in a large ensemble cast. The choreography is entertaining as well. All the “ghosts “from the Addams family emerge from a family crypt, clad in a variety of white outfits. The dancing is uniquely choreographed behind other members of the cast while they are singing. It is quite an unusual template of color versus white on white.  Lindey Bliven is phenomenal as she occasionally joins the tap routines while wearing Morticia’s long straight black dress. Come for the horror; stay for the laughs. While this is a musical, it is a comedy as well. It is fun for all ages. For tickets or information, visit WalnutStreetTheatre.org or Ticktetmaster.com   or call 215-574-3550.

Summer,1976

McKenna Kerrign and Grace Gonglewski

The Lantern Theater Company, located at St. Stephen’s Theater,10^th and Ludlow Streets, Center City Philadelphia, is presenting Summer, 1976   through October 11, 2026.  Diana, played by McKenna Kerrigan, is a quirky artist when she first meets Alice, portrayed by Grace Gonglerwski.  Her short, clipped sentences are acerbic.   Alice is a laissez-faire academic wife and Grace is a driven artist. They seemingly have little in common but bond over having young children of the same age who immediately become best friends. Grace’s husband, Doug, is sometimes also given voice by Diane.  Playwright David Auburn has provided witty dialogue throughout Summer, 1976. This is not a comedy but rather a chance for the characters to grow and mature through a series of circumstances and for the audience to laugh in appreciation. Grace and McKenna are excellent in their roles. They are both onstage for the entirety of the 90-minute one-act with only a scattered minute here or there when one of them is not in the spotlight …and oh the spotlight! Thanks to Lighting Designer J. Dominic Chacon the spotlight  also deserves title billing. Whenever Alice or Diana speaks to the audience, the spotlight is on her, and the other character is in shadows. This type of scenario happens frequently in the performance and the stage lighting is exquisite. For tickets, call 215-829-0395 or visit online at www.lanterntheater.org

This Should NEVER Be a Musical

1812 Productions, Philadelphia’s All Comedy Theatre Company, is presenting This Should NEVER be Musical through September 27, 2026. Artistic Director Jennifer Childs noted the company is appearing on the Arcadia stage of the Arden Theatre while celebrating its 30^th Anniversary season, the same stage on which a fledgling 1812 Company began its performances 30 years ago. This Should NEVER Be a Musical is an improvised reality show. Four “contestants” react to information provided from audience members prior to the start of the show. Through a series of musical elimination tasks, including spinning a wheel to determine the type of song to sing and being subject to audience voting, one by one the contestants are eliminated. The last one standing presents his musical, aided by other cast members, of course. The winner on opening night was There is No Name. This quickly morphed into a quirky story about a woman who had a “condition” that wouldn’t allow her to remember anyone’s name, even seconds after she heard it. The musical had several songs, a lot of angst and much laughter thanks to the excellent ensemble cast of Mykey Carpenter, David Dritsas, Eliana Fabiyi, Kristin Finger and Kelsey Hebert. You will probably see an entirely different musical if you go, but go you must. The cast  will be the same and they are an improv treasure, able to compose hysterical dialogue, songs, and choreography on the spur of the moment.

She Gets Around

 

Jennifer Child’s is performing in her third solo show, She Gets Around, through May 17, 2026 at 1812 Production’s home, Plays and Players Theater, 1714 Delancey Place. While her other two solo pieces were enjoyable, funny, even memorable, She Gets Around is on a whole new plane. Jen is brilliant as she performs sketch after sketch and dons various items of clothing “from her closet“ that relate to specific times of her life. Each sketch is wildly funny and the entire audience roars with laughter in the 90- minute show. Jen is a whirlwind: she sings; she dances across the stage; she prances up and down a huge ladder to unhook clothes from a clothes pin, and she relates to the audience. One of the most endearing parts of the show is Jen in her girl scout uniform as a second grader in “time-out.” She is on the “time-out” stool several times and in heart-breaking terms she explains how unfair it is.  One of the most gratifying segments is Jen’s tribute to all the female comedians who came before her. I absolutely loved this show. Jennifer Childs is always excellent but this show is outstanding. Contact the box office at 215-592-9560 for information on how to get your tickets today.

Seng's Hair Salon

InterAct Theatre Company is presenting’s Seng’s Hair Salon through May 10, 2026 at The Proscenium Theatre at The Drake, 302 S. Hicks Street, Philadelphia, Pa. InterAct has commissioned three playwrights, with the help of The William Penn Foundation, to write a play about a community in Philadelphia that is under-represented on local or national stages. Seng’s Hair Salon, by Saymoukda Duangphouxay Vongsay, is the second of the three chosen plays which are part of the Philly Cycle. It is set in a neighborhood in South Philly and encompasses the stories of Lao, Vietnamese and Cambodian families. Together the Asian community is a tight-knit group which has found its commonality in the great care they are given and the gossip they share in the chairs of Seng’s Hair Salon. Developers threaten to “buy out” the properties on the block, one by one. The younger generation cannot see Seng giving up her salon and are willing to go door to door to get support. Seng’s best friend Ahn has a new house built in Vietnam with a room added especially for her. She pleads with Seng to retire, sell her salon and move with her. Will Seng’s secret keep her in Philly? The play answers this question as well as developing a wonderful insight into family life and cultural norms in that Asian community. Be sure to get your tickets at https://www.interacttheatre.org/sengs