Category: Theater

  • Bill Wine, Emmy Award-winning film and TV critic, and longtime La Salle professor, has died at 81

    Bill Wine, Emmy Award-winning film and TV critic, and longtime La Salle professor, has died at 81

    Bill Wine, 81, of Philadelphia, three-time Mid-Atlantic Emmy Award-winning film and TV critic, retired tenured associate professor of TV and film at La Salle University, onetime freelance TV critic for the Daily News, freelance writer, playwright, and popular lecturer, died Sunday, June 14, of complications from Parkinson’s disease at his home in Chestnut Hill.

    The son of two part-time amateur actors and a lifelong devotee of theater, film, TV, writing, and teaching, Mr. Wine was a film critic for WTXF-TV, Channel 29, for 12 years and KYW radio for 17 years. Known for his pithy, witty, and often acerbic reviews, and a breezy conversational style of writing, he worked at Channel 29 from 1990 to 2002 and KYW from 2001 to 2018.

    “Bill Wine was a character out of a Neil Simon comedy, more Oscar than Felix,” said Carrie Rickey, former Inquirer movie critic. “You didn’t have to wait long for the punchline.”

    Mr. Wine’s film reviews on Channel 29 were often funny and entertaining.

    At Channel 29, Mr. Wine was nominated for eight regional Emmy Awards for commentary and writing, and won three. He appeared regularly on the station’s Ten O’Clock News, in primetime movie preview and review programs, and later on Mondays, Wednesdays, and Fridays on Good Day Philadelphia.

    By 1990, he had already written hundreds of freelance film reviews for the Daily News and Courier-Post, done radio reviews for WPEN, and taught a variety of classes about film and writing for a decade at La Salle. So, despite no previous TV experience, he was hired at Channel 29 over 60 other film critic applicants.

    “I had never been on TV, but I wasn’t nervous,” he told the Daily News in 2001, “because I had been standing in front of 100 students for 10 years.”

    Mr. Wine worked at at WTXF-TV, Channel 29, for 12 years.

    He started at KYW radio in 2001 and usually aired reviews and reports on Thursdays, Fridays, and Saturdays. Sometimes, he watched three movies in one day. He left Channel 29 in 2002 and KYW in 2018 only after both companies eliminated their local film critic position.

    “When I started [writing film reviews], it was before the internet,” he told The Inquirer in 2018. “A lot of people [now] feel like, ‘Who the heck is a movie critic to come on in a minute and to dismiss something that took hundreds of people and millions of dollars to create?’”

    In the 1970s and ‘80s, he wrote articles and reviewed films, TV shows, books, and plays for WPEN, The Inquirer, Courier-Post, Philadelphia Magazine, and other outlets. In 1975, he wrote dozens of freelance TV columns called “On the Air” for the Daily News.

    Mr. Wine wrote dozens of columns as a freelance TV critic for the Daily News in 1975.

    He spent three years in California in the 1970s working on plays and film and TV scripts. He hobnobbed with famous writers, producers, and actors in Los Angeles, staged one of his own plays, and was a winning contestant on a new TV game show.

    He wrote 11 plays over the years, and several made it to the stage. “Now the people who disagree with my reviews can come and find out if I’m as dumb as they think I am,” he told The Inquirer in 2002.

    He aired reviews on WIP radio and lectured often at libraries, schools, community centers, theaters, and other venues about his favorite films, adapting books to film, and other topics. “He could be wickedly funny, especially when delivering a pan of a movie,” his family said in a tribute. “One of his favorite quotes was: ‘I had a bad seat. It was facing the screen.’”

    Mr. Wine was a prolific playwright who enjoyed table readings with family and friends.

    Mr. Wine earned a bachelor’s degree in math at Drexel University and a master’s degree in communications at Temple University. He helped design La Salle’s nascent Communication Department in the 1980s, and school officials called him one of their “Founding Fathers.” He also taught briefly at Drexel, and came close to earning a doctorate at Temple.

    In 2001, he was featured in a Daily News story about “celebrity professors” and said: “You have to remind yourself that this is television, not the classroom. You mention, say, ‘film noir’ on TV, and you get a memo.”

    William David Wine was born June 21, 1944, in Germantown. He grew up in West Oak Lane and Cherry Hill, attended Central High School, and graduated from the old Cherry Hill High School.

    A story and this photo of Mr. Wine about his time as a professor at La Salle appeared in the Daily News in 2001.

    As a boy, he devoured newspaper movie reviews and fell in love with film after seeing Alfred Hitchcock’s 1954 thriller Rear Window. He got positive reviews of his own freelance movie review when he was at Temple, and he knew then, he said later, that writing about movies was his creative niche.

    “The first time I saw my byline, I was hooked,” he told Drexel Magazine in 2016.

    He married Dina Lichtman, and they divorced later. He married Suzanne Monsalud in 1981, and they had daughters Simone and Paulina, and lived in Germantown, Wyncote, and Chestnut Hill.

    Mr. Wine and his wife, Suzanne, married in 1981.

    Together, Mr. Wine and his family traveled to Paris and London, and he and his wife honeymooned in Rio de Janeiro, Brazil. He doted on his daughters and sometimes took them to his La Salle classroom, the Channel 29 TV set, and movie screenings.

    Friends, former colleagues, and former students called him “a force of nature,” “smart and gifted,” and “a rare combination of kindness, professionalism, and humor.” His daughter Simone said: “His humor, warmth, and presence made life brighter.”

    Mr. Wine played tennis, third base on adult softball teams, and pickup basketball into his 70s. He followed the Phillies, 76ers, and Eagles closely, and hit tennis balls with Hall of Famer Rod Laver at a publicity event in Los Angeles.

    Mr. Wine and his family made memorable trips to Paris, London, and elsewhere.

    “He was a wonderful father and a dedicated teacher,” his wife said. “He was a real Philadelphian, and we complemented each other.”

    His daughter Paulina said: “Dad, I think you cracked the code. We’ll see you at the movies.”

    In addition to his wife and daughters, Mr. Wine is survived by three grandchildren, a sister, Marcia, and other relatives. A sister died earlier.

    A celebration of his life was held earlier.

    Donations in his name may be made to the Bill Wine Scriptwriting Award at La Salle University, 1900 W. Olney Ave., Philadelphia, Pa. 19141.

    Mr. Wine (second from left) enjoyed time with his family.
  • ‘Oh, Mary!’ is coming to Philadelphia on its first national tour

    ‘Oh, Mary!’ is coming to Philadelphia on its first national tour

    Oh, Mary!, the wacky and irreverent Tony Award-winning play about first lady Mary Todd Lincoln, will stop in Philadelphia on its first national tour next spring, and tickets go on sale this week.

    Following a record-breaking box office Broadway run, the Philadelphia premiere of Oh, Mary! will be one of the buzziest theater tickets of the season. Its brief run at the Miller Theater from March 9 to 14 will likely sell fast given the show’s massive popularity.

    Written by actor/comedian Cole Escola, the play focuses on the Lincolns in the weeks leading up to the assassination of President Abraham Lincoln (here called “Mary’s husband”). The dark, campy comedy first featured Escola in the role of Mary — which led them to win the 2025 Tony Award for best leading actor in a play — and has since hosted special guest stars like Maya Rudolph, Tituss Burgess, Jinkx Monsoon, and Jane Krakowski. The show also won the Tony for best direction of a play, and was named a Pulitzer Prize finalist.

    Tituss Burgess and Phillip James Brannon in “Oh, Mary!” on Broadway. The Tony Award-winning comedy about Mary Todd Lincoln runs March 9 to 14, 2027, at the Miller Theater.

    Oh, Mary! is exactly the kind of bold, inventive Broadway sensation that we want to bring to Philadelphia,” said Frances Egler, Ensemble Arts Philly’s vice president of theatrical programming and presentations, in a statement. “The play is both razor-sharp and delightfully idiotic, an absurdist, whip-smart comedy … And given Mary Todd Lincoln’s well-documented fondness for shopping in Philadelphia, it feels only right that she finally gets top billing here.”

    Casting for the tour has not been announced yet. Presale tickets are available for Ensemble Arts Philly members; tickets go on sale to the general public at 10 a.m. on Friday, June 26.

    “Oh, Mary!”, March 9-14, 2027, Miller Theater, 250 S. Broad St., 215-893-1999 or www.ensembleartsphilly.org.

  • How to have a perfect Philly day, according to actor and director Amina Robinson

    How to have a perfect Philly day, according to actor and director Amina Robinson

    South Philly-raised director and actor Amina Robinson is one of the region’s most celebrated theater makers, known for directing major productions including Fat Ham, Once on This Island, and The Color Purple. Now based in Cherry Hill with her husband and son, Robinson was just named the new artistic director of Norristown’s Theatre Horizon, where she’ll take the helm later this year.

    When she’s not directing plays and musicals like this spring’s Ain’t Misbehavin’, the Temple University professor spends her days walking around Philadelphia and visiting family in West Philly. On her perfect Philly day, she takes her family for cheesesteaks at Jim’s before walking around the Schuylkill and, of course, catching a show at her soon-to-be artistic home, Theatre Horizon.

    8 a.m.

    I get up and I wake up my son and my husband. We decide to get ready and go to Philly for breakfast. We’re gonna go to Eggcellent Cafe on Chestnut Street and I’m gonna eat their truffle avocado toast — it’s so big and good. I’m gonna have their golden turmeric latte, too.

    Families and friends gather from all over to watch the firework show over the Delaware River on New Years Eve at Penn’s Landing in Philadelphia on Wednesday, Dec. 31, 2025.

    10:30 a.m.

    We’ll walk breakfast off by taking a nice little walk down Penn’s Landing, right along the water.

    11 a.m.

    After that, we’ll go visit my mom in Overbrook Park. I would bring her decaffeinated Dunkin’ Donuts coffee, that’s a must. Then we’ll sit and talk with my mom for a little bit. I would see my brother and my stepdad, and probably my nephew, and maybe my brother’s girlfriend would be there, but I really would be going to visit my mommy.

    Ken Silver, owner of Jim’s Steaks, corner of 4th and South Street with sign on front of building.The restaurant is under construction after 2022 fire destroyed the cheesesteak restaurant. Photo taken on Monday, March 25, 2024.

    1 p.m.

    For lunchtime I want to go down to Jim’s on South Street and get a cheesesteak with whiz and fried onions. I probably need to walk off my cheesesteak, but I’m not going to walk off my cheesesteak. I’m going to let it just sit in my belly for a while.

    3 p.m.

    Then we’ll go out to the Art Museum area and chill out and walk around. Maybe we’ll have ice cream, there are usually ice cream trucks out there. I love walking around that area so much — I’ve always loved West River Drive and Kelly Drive. When I was a kid, I didn’t know that Boathouse Row was like boathouses, even though it’s called that — I used to always say, when I grew up, I’m gonna live in one of those houses.

    Boathouse Row is relit with a new programmable system containing 6,400 LED lights that allow for 16 million color combinations in Philadelphia, Pa. on Thursday, March 7, 2024.

    5:30 p.m.

    At night, I’m gonna go to Norristown. There’s this Mexican restaurant on Main Street that’s so freaking good, Taqueria La Michoacana. I would definitely have their beans and rice, and tacos, and I don’t know what else.

    7:30 p.m.

    I would go see a show at Theatre Horizon. They want to foster empathy and edify the people who come to see the theater. As the incoming artistic director, I’d love to start programs like that to grow the artistic community there, all the while supporting the community that’s already been built there.

    New artistic director Amina Robinson at an event for Theatre Horizon’s 2018 production of ‘The Color Purple.’

    10 p.m.

    I’d head home to sit outside and watch the cars go by, just like chill out and relax. Then I’ll lay on the couch and fall asleep watching a television show, probably a Lifetime Movie Network movie.

  • ‘Oh, Mary!,’ ‘Hell’s Kitchen,’ and ‘Mamma Mia!’ are just a few of the Broadway blockbusters headed to Philly this year

    ‘Oh, Mary!,’ ‘Hell’s Kitchen,’ and ‘Mamma Mia!’ are just a few of the Broadway blockbusters headed to Philly this year

    Some of the best and buzziest Broadway shows will make their way to Philadelphia for the 2026-2027 season, including Cole Escola’s camp comedy Oh, Mary!, the futuristic romance Maybe Happy Ending, a newly staged version of the legendary Phantom of the Opera, and Alicia Keys’ semi-autobiographical musical, Hell’s Kitchen.

    On Monday, Ensemble Arts Philly announced the lineup of 14 Broadway productions running at the Academy of Music, Miller Theater, and Forrest Theatre this upcoming season. The slate features recent Tony Award winners, anniversary tours, fresh revivals, and Philadelphia premieres.

    The season kicks off at the Academy of Music with the ABBA-fueled classic, Mamma Mia! (Sept. 29 to Oct. 4), followed by The Great Gatsby (Oct. 20 to Nov. 1), a musical based on F. Scott Fitzgerald’s roaring twenties novel, and BOOP! The Musical (Nov. 17 to 29), about the cutesy cartoon character Betty Boop.

    Popular British show Operation Mincemeat: A New Musical, a raucous World War II spy comedy based on an actual secret mission of the same name, makes its Philadelphia premiere at the Forrest Theatre, running Dec. 15 to 20.

    The holiday season continues with another British original as STOMP lands at the Miller Theater from Dec. 28 to Jan. 3, 2027. The percussive powerhouse delivers a unique musical experience with eight performers using everything from lighters to hubcaps to make music.

    The company of the North American tour of Alicia Keys’ “Hell’s Kitchen,” which will run Jan. 5 to 17, 2027, at the Academy of Music.

    Alicia Keys fans won’t want to miss the arrival of Hell’s Kitchen, the singer’s heartfelt story about growing up with her single mom in the artistic community at Manhattan Plaza (which historically housed celebrity residents like Samuel L. Jackson, Colman Domingo, and Angela Lansbury). It earned 13 Tony Award nominations and won two. The musical runs Jan. 5 to 17, 2027, at the Academy of Music.

    The Book of Mormon, the Tony Award-winning comedic musical from the creators of South Park, returns to Philadelphia and runs Jan. 26-31, 2027, at the Forrest Theatre.

    Two familiar favorites will celebrate major milestones in spring 2027: Riverdance and Waitress. Riverdance 30 — The New Generation (March 4 to 7, 2027, at the Miller Theater) rings in three decades of Irish dance with new choreography and a young ensemble of dancers ages 30 and under.

    Waitress, the beloved show with original music from singer-songwriter Sara Bareilles, spotlights an overlooked pie maker with ambitious dreams. The musical returns to Philadelphia for its 10th anniversary running Feb. 9 to 14, 2027, at the Academy of Music.

    For audiences looking to laugh, Oh, Mary! will be one of the hottest tickets of the theatrical season as the production embarks on its first tour, with a short run at the Miller Theater from March 9 to 14, 2027.

    The smartly subversive spoof follows Mary and Abraham Lincoln in the days leading up to the presidential assassination. For the hilariously unhinged role of Mary, creator Cole Escola won the 2025 Tony Award for best performance by an actor in a leading role in a play.

    Other comedic stars have taken turns playing Mary, including Tituss Burgess, Jinkx Monsoon, and Jane Krakowski — and Maya Rudolph is up next on Broadway. (The tour’s cast has not yet been announced.)

    Maybe Happy Ending, which won six Tony Awards last year, including best musical, is another highly anticipated show set in Seoul, following two humanistic robots who fall in love. It runs March 23 to April 4, 2027, at the Academy of Music.

    Helen J. Shen and Darren Criss in the original Broadway production of “Maybe Happy Ending,” which won the 2025 Tony Award for best musical. It runs March 23 to April 4, 2027, at the Academy of Music.

    A revival of The Who’s Tommy, the rock opera by guitarist/composer Pete Townshend, runs at the Forrest Theatre April 13 to 18, 2027, where the show’s original North American tour premiered more than 30 years ago.

    Phantom of the Opera (June 9 to 27, 2027, at the Academy of Music) also gets a (slight) reexamination in Cameron Mackintosh’s take on the Andrew Lloyd Webber classic. The core of the show remains faithful, but this iteration makes fresh updates to the scenic design with new technology — pyrotechnics! — and choreography.

    Rounding out the Broadway season next summer is Harry Potter and the Cursed Child (July 28 to Aug. 8, 2027, at the Academy of Music), which follows the unlikely friendship between the sons of Potter and his longtime rival Draco Malfoy.

    The 2026-2027 season showcases “the full spectrum of what Broadway is right now,” said Frances Egler, vice president of theatrical programming and presentations at Ensemble Arts Philly, in a statement. “This season was curated to be deeply cohesive, pairing large‑scale Broadway blockbusters with newly acclaimed work, so that audiences can move between spectacular, outrageous, nostalgic, and deeply personal experiences — all within one series.”

    Subscription packages, on sale now, start at $29 per show (the same as last year). The bundle includes six shows, down from seven last year: The Great Gatsby, BOOP! The Musical, Hell’s Kitchen, Maybe Happy Ending, The Phantom of the Opera, and Harry Potter and the Cursed Child.

    The cost of the package ranges from $169 to $816 for all six shows, varying based on performance dates and seat selection. Individual tickets for each show will be available later this year.

  • James Ijames rewrote the script to ‘Good Bones’ after seeing the pushback to the Sixers arena. Is the play any good?

    James Ijames rewrote the script to ‘Good Bones’ after seeing the pushback to the Sixers arena. Is the play any good?

    Gentrification is perhaps not the flashiest subject for a play. But in a city like Philadelphia — which has seen years of rapid development and community backlash, particularly surrounding the contested Sixers arena effort — it serves as a ripe starting point for dramatic exploration in Good Bones, running at the Arden Theatre through March 22.

    Directed by Akeem Davis and written by Pulitzer Prize-winning playwright James Ijames, the play centers on Aisha (Taysha Marie Canales), a businesswoman tasked with community outreach for sports complex developers, and Earl (Walter DeShields), the contractor she hires for home renovations who vehemently opposes the arena. They both grew up in the same (fictional) neighborhood but hold vastly different visions for its future.

    Arts reporter Rosa Cartagena and residential real estate reporter Michaelle Bond discuss the production’s funny, emotional, and complex portrayal of a very Philly reality.

    Old neighborhoods, new names

    Rosa Cartagena: You’ve been covering real estate extensively here in Philadelphia. I’m wondering what’s your first impression of the way this play addressed gentrification?

    Michaelle Bond: I saw a lot of themes that I hear about all the time covering housing. The feelings of longtime residents vs. newer ones, revitalization vs. displacement, what new construction looks like and how it fits (or doesn’t) in a neighborhood, even what a neighborhood should be called.

    RC: Right, there was a funny moment on opening night when Earl criticized the newcomers for calling their neighborhood the new name “Finbrook” instead of “the Heat” and an audience member clapped. We’ve seen that kind of rebranding all across this city, too.

    MB: I think the Heat is the cooler of the two names, by the way. There’s more passion behind it. But yes, developers and real estate agents have rebranded or tried to rebrand lots of neighborhoods. The Gayborhood, for example, is also called Midtown Village now. Almost 10 years ago, a small developer in North Philly’s Norris Square tried to rename the neighborhood Stonewall Heights and was promptly shut down. In an extreme example, the Black Bottom neighborhood in West Philly was bulldozed and renamed University City.

    Taysha Marie Canales (Aisha) and Walter DeShields (Earl) examine a model sports complex development in ‘Good Bones,’ running at the Arden Theatre through March 22.

    The Sixers arena influence

    RC: This story is set in an American city that could stand in for Philadelphia, or the sites of previous performances in Washington, D.C., and New York. The playwright James Ijames was living in South Philly when he wrote Good Bones, and he’s previously discussed his own growing pains of moving to a new community. This production delivers a specifically Philly version but with a universal resonance.

    MB: Right, because in the other productions, the new development coming in wasn’t a sports complex, was it?

    RC: Ijames rewrote the script after seeing the local pushback to the Sixers arena proposed in Chinatown. There are a few Philly callouts, like Earl’s sister Carmen (Kishia Nixon) attending the University of Pennsylvania and a joke about the Sixers sucking (which killed).

    Revitalization vs. destruction

    MB: One thing I’ve heard a lot about across Philly is that residents raise their kids in their neighborhoods, but when the kids grow up, they can’t afford to buy a home in that same neighborhood. Earl says that the public housing complex where he and Aisha grew up will be torn down and probably replaced with condos that no one can afford. The production does a good job highlighting the displacement and the class dynamics that are often at play.

    RC: Absolutely. In this case Aisha grew up, moved away, married a guy from a rich family, and returned to purchase a home with “character and charm.” But her view of the neighborhood’s drastic transformation isn’t a negative one — she sees her efforts as “healing” her once neglected and sometimes violent home. Aisha and Earl bond over their memories of the Heat but fiercely disagree about what is revitalization vs. destruction.

    MB: That’s the thing. They’re both passionate about the neighborhood and want to help the residents there, but they have different ways of going about it. Aisha wants to get rid of the public housing complex and “start over,” but Earl wants improvements that don’t erase the history.

    Taysha Marie Canales (Aisha) and Kishia Nixon (Carmen) in ‘Good Bones,’ running at the Arden Theatre through March 22.

    RC: We learn that Earl has been handcrafting cabinet knobs that look like the ones originally in the kitchen, because he has memories of playing in the empty house after the previous owner died.

    MB: Earl is a big fan of preservation. He calls new construction ugly and says it has no character or charm. And that’s definitely something I’ve heard from Philadelphians. And how that’s particularly irritating in a historic city like Philadelphia. Inquirer architecture critic Inga Saffron said in a recent column that Philly neighborhoods “are now awash in interchangeable blocky structures, all dressed in the same dreary gray clothing, their aluminum panels shrink-wrapped around the exterior like a sheet of graph paper.”

    Block parties and traditions

    RC: Ew, yeah the millennial gray. New neighbors also bring new problems. When a block party interrupts Aisha’s husband Travis’ (Newton Buchanan) sleep, he decides to lodge a noise complaint using an app called the Hood — a clever Ijames invention that makes “this narc s— so pleasant,” Carmen says — and the cops come in a harrowing scene portrayed through anxiety-inducing lighting design thanks to Shannon Zura. It’s later revealed that the event was an annual community gathering Earl organized.

    MB: That’s also something I hear about. The tension between longtime residents who have longstanding traditions and newer residents who don’t have an understanding of that history or what it means to the community.

    RC: Or who are scared to even talk to their neighbors. Earl makes the point that Travis could have simply stepped outside and asked them to turn it down. It’s even more damning because Aisha’s whole job is to “help the franchise speak the language of the community.” Earl criticizes her by saying, “I expect more from my people.” As universal as it is, Good Bones isn’t a stereotypical representation of gentrification because these aren’t white newcomers in a historically Black community, which makes this portrayal richer and thornier.

    Newton Buchanan (Travis) and Taysha Marie Canales (Aisha) in ‘Good Bones,’ running at the Arden Theatre through March 22.

    Nuance and personal experience

    MB: Speaking of thorny, the play also touches on what can be development’s double-edged sword. Investment boosts existing residents’ property values, but then everything gets more expensive, from property taxes to groceries. Earl mentions at one point that a Whole Foods replaced a neighborhood spot.

    RC: That frustration shined through in DeShields’ strong performance, too. The actor has had his own direct experiences with gentrification here after growing up in South Philadelphia and seeing his neighborhood renamed to Point Breeze. I think that personal pain and loss bolstered his take on Earl, who reminds Aisha that transformation to some means elimination for others. Aisha, on the other hand, primarily focuses on her memories of violence and trauma that she experienced, saying that they deserved better. Canales delivers a layered and emotional speech that underscores how these conversations can be conflicting and difficult.

    MB: I went into the play thinking there would be a clear resolution, but there really wasn’t one. And that speaks to the complexity of the subject matter.

    RC: That’s also a testament to the play’s strengths — it succeeds in getting audiences to think critically about a nuanced topic. Hopefully that means they’ll actually talk to their neighbors, too.

    “Good Bones” runs through March 22 at the Arden Theatre, 40 N. Second St., Phila., 215-922-1122 or ardentheatre.org. Runtime: 1 hour and 45 minutes (no intermission).

  • Woodie King Jr., founder of powerhouse off-Broadway New Federal Theatre, has died at 88

    Woodie King Jr., founder of powerhouse off-Broadway New Federal Theatre, has died at 88

    NEW YORK — Woodie King Jr., an actor, director, and producer who founded the New Federal Theatre to give voice and employment to Black playwrights, actors, directors, designers, and young people entering the American theater, has died. He was 88.

    His off-Broadway theater company said Mr. King died Thursday at Weill Cornell Medical Center in New York City of complications from emergency heart surgery.

    Mr. King was inducted into the American Theatre Hall of Fame in 2012 and received the Tony Honors for Excellence in Theatre in 2020.

    “We have lost a giant,” said Emmy Award-winning actor and educator Erin Cherry on Instagram. “I am here because of Woodie King Jr. My very first introduction to the Black theater scene was the play ‘Knock Me a Kiss’ produced by New Federal Theatre. It changed my life. I’m forever grateful.”

    The New Federal Theatre produced such key works as Black Girl by J.E. Franklin, The Taking of Miss Janie by Ed Bullins — which jumped to Lincoln Center and won the Drama Critics Circle Award — and For Colored Girls Who Considered Suicide When the Rainbow is Enuf by Ntozake Shange, which landed on Broadway in 1976 and was nominated for the best new play Tony Award.

    The New Federal Theatre was a springboard for many playwrights, including Charles Fuller — later to win the Pulitzer Prize for A Soldier’s Play — who premiered two plays — In My Many Names and Days and The Candidate. David Henry Hwang premiered The Dance and the Railroad at the New Federal and would later win the Tony for M. Butterfly.

    Some performers who got early career boosts thanks to the company include Chadwick Boseman, Debbie Allen, Morgan Freeman, Phylicia Rashad, Denzel Washington, LaTanya Richardson Jackson, Samuel L. Jackson, and Issa Rae.

    Mr. King was born in Alabama, raised in Detroit, and earned his bachelor’s degree from Lehman College and later his master’s from Brooklyn College. He served as the cultural director of Mobilization for Youth for five years, before founding New Federal Theatre in 1970.

    Mr. King is survived by his wife, Elizabeth Van Dyke, and his three children, Geoffrey King, Michael King, and Michelle King Huger, whom he shared with ex-wife Willie Mae Washington, as well as five grandchildren.

    Tyler Fauntleroy, an actor who has toured in Hamilton, took to Instagram to recall working at the New Federal in 2019 on a show called Looking for Leroy that would change his career. “His belief in me came at a time when my own was at an all-time low. What a champion he was for Black artists. It was an honor to witness. Thank you, sir and rest easy.”

  • Carla Washington Hines, longtime dancer, choreographer, and teacher, has died at 72

    Carla Washington Hines, longtime dancer, choreographer, and teacher, has died at 72

    Carla Washington Hines, 72, of Philadelphia, longtime dancer, pioneering choreographer, celebrated teacher, former artistic director, collaborator extraordinaire, and mentor, died Sunday, Nov. 2, of sepsis at Temple University Hospital-Jeanes Campus.

    Mrs. Hines came to Philadelphia from Virginia in 1974 after college and spent the next four decades dancing, teaching, lecturing, traveling, and generally advocating for arts in education from kindergarten through college. She danced with the Sun Ra Arkestra, the John Hines Dance Co., and other troupes at all sorts of venues in Philadelphia, New York, Chicago, elsewhere in the United States, and throughout Europe.

    She choreographed original performances such as “Montage in Black,” “Reflections,” and “Life Cycle,” and collaborated with notable jazz musicians Herbie Hancock and Alice Coltrane, and other musical stars. She was a guest on TV and radio shows, read poetry at public events, and earned awards from the Pennsylvania Council on the Arts and the Philadelphia-based Bartol Foundation for education.

    She was an expert in jazz dance, modern dance, ballet, and posture, and she lectured, organized workshops, and taught the elements of dance and choreographic principles at schools, colleges, art centers, drama guilds, libraries, and elsewhere around the country. Her mother, Thelma, was a dancer and teacher, too, and Mrs. Hines championed the connection between an interest in the arts and academic success.

    “In dance, I can be anything I want to be,” she said in an online interview. “That’s the magic of the arts.”

    She created an afterschool residency at a Universal charter school and taught dance at E.M. Stanton Elementary School, Strawberry Mansion High School, and other schools. She said in the online interview that her curriculum “is based on the appreciation of dance and movement,” and that it helps students “make sense of their lives using dance as a tool for learning.”

    She said: “I want them to be able to understand through movement exploration how dance can change one’s life.”

    She was artistic director for the Philadelphia chapter of the Institute for the Arts in Education and at the Point Breeze Performing Arts Center. “Her creative guidance helped students tell powerful cultural stories through movement,” her family said.

    Mrs. Hines performed with the Jones-Haywood Dance School in Washington before moving to Philadelphia.

    As longtime community engagement manager for the Philadelphia Clef Club of Jazz and Performing Arts, Mrs. Hines wrote grants and choreographed performances. She was executive director of the John Coltrane Cultural Society and active at the old University of the Arts.

    Her family said: “She devoted her life to creativity and to nurturing talent in others.”

    Carla Yvette Washington was born Nov. 3, 1952, in Charleston, W.Va. Her family moved to Grambling, La., when she was young, and she graduated from high school in 1970.

    She was named Miss Freshman at what is now Grambling State University, joined the Alpha Kappa Alpha Inc. sorority, and earned a bachelor’s degree in recreation in 1973. In 1981, she earned a master’s degree in fine arts and dance at the old Philadelphia College of the Performing Arts.

    Mrs. Hines (left) smiles with her husband, Lovett, and their daughter, Zara.

    She worked as a dance teacher for the Fairfax County Department of Recreation in Virginia after college and performed with the Jones-Haywood Dance School in Washington before moving to Philadelphia.

    She met jazz musician Lovett Hines Jr. when they were students at Grambling and they married in 1984 and lived in West Oak Lane. They had a daughter, Zara, and Mrs. Hines welcomed her husband’s son, Lovett III, and his family into her family.

    “She introduced many creatives to dance and culture, and sparked their creative careers,” her stepson said. “That is the essence of her legacy.”

    Mrs. Hines and her husband, their daughter said, were “a partnership of two geniuses.” He played the saxophone and was artistic director at the Clef Club. She loved the drums, and they collaborated seamlessly on many notable projects.

    Friends called her “a sweetheart” and “a beautiful soul” in online tributes. One said she “made an impact on Philadelphia and beyond in countless ways.” Her sister, Alicia Williams, said: “Everyone had a special relationship with her.”

    Mrs. Hines graduated from Grambling High School in Louisiana in 1970.

    Mrs. Hines was diagnosed with a lung disease in 2024 and Stage 4 cancer in 2025. “She was stern but soft,” her daughter said, “loving but able to tell you like it is.”

    Her husband said: “She had special relationships with so many musicians, so many people. It was through insight, understanding, and patience. In them, we see her everyplace, feel her everyplace.”

    In addition to her husband, daughter, mother, and stepson, Mrs. Hines is survived by three sisters, two step-grandsons, and other relatives. A brother died earlier.

    Services were held Wednesday, Dec. 17.

    Mrs. Hines (center) said she adapted her teaching techniques to suit the needs and ages of the students.
  • In ‘Steel Magnolias’ in Chesco, some of the cast has worked together for 50-plus years

    In ‘Steel Magnolias’ in Chesco, some of the cast has worked together for 50-plus years

    In a small fictional town in Louisiana, the six women centered in Steel Magnolias have forged a community among — and an ever-deepening relationship with — each other. In a real town in southeastern Pennsylvania, a group of women who have worked together for decades are bringing those characters and those deep bonds to life at People’s Light in Malvern.

    “You don’t have to worry about if that familiarity is there,” said Janis Dardaris, who portrays Clairee, the widow of the town mayor. “You just sit on the stage and it’s there. There’s no working at it. I sometimes wonder, what would it be like doing this play with completely different people that I didn’t know?”

    As the women portray lifelong friendships, they have been able to find that depth and heart because of their own close connections. They’ve known each other for decades through their work in the arts — up to 50 years, in some cases, with some combination of them overlapping in at least a dozen shows in recent years.

    Talking together in a room at the theater days before the Sunday opening, they occasionally finished each other’s sentences, extrapolating thoughts for each other.

    Abigail Adams, the production’s director who has directed the women in several other performances, has a sense of how each of them works — how much time it takes for them to process, when to ask for something in their performance and when to hold back.

    Claire Inie-Richards, who plays young nurse and newlywed Shelby, and Susan McKey, who plays her mother, M’Lynn, have portrayed a mother-daughter duo three times over 20 years.

    Though with each role they learn each other anew, “There’s no substitute for time,” Inie-Richards said.

    Marcia Saunders (left) and Brynn Gauthier are part of an all-women ensemble performing “Steel Magnolias.”

    Brynn Gauthier, who makes her People’s Light debut in her portrayal of Annelle, is the new addition to a group of women whose history stretches back decades.

    At first she thought it might be intimidating to work with people who have known each other and worked together for so long, but it felt like she got to be part of the journey of the cast getting to know each other in a new way through this show.

    That familiarity is not without its challenges, though. Marcia Saunders sometimes feels “Marcia” surface in place of “crusty” Ouiser.

    “That’s been challenging because of my relationship with these people and this institution, which is like a home to me,” she said.

    Told as a series of moments in the women’s life within the safe confines of Truvy’s in-home hair salon, the play opens with Truvy and newcomer Annelle preparing Shelby for her wedding. Shelby and mother M’Lynn discuss wedding preparations, while local grouch Ouiser gripes about their property line.

    Clairee arrives, windswept, from a dedication ceremony honoring her late mayor husband. Annelle, originally reluctant to give any information at all about herself, breaks down, admitting to the women that her husband has disappeared — with her money, her car, and her jewelry. She finds immediate support.

    It’s just the start of how the relationships evolve and deepen in Robert Harling’s play, set in a southern town in the 1980s.

    From left, Janis Dardaris, Susan McKey, and Claire Inie-Richards, members of an all-women ensemble performing “Steel Magnolias,” speak about working together for decades — some for more than 50 years — during an interview at People’s Light in Malvern.

    Even though the viewer slowly learns more about the women’s external lives and pressures — confronting joys and tragedies — the play never leaves the salon.

    “I love how this play – it’s about these women. It’s about this place. It’s about us. And I just think that makes for such a strong story, and I think more poignant than the movie,”McKey said.

    Gauthier observed that there’s something inherent to women’s friendships in how they can discern when to tiptoe and when to confront in their care for each other.

    Marcia Saunders (from left), Brynn Gauthier, Janis Dardaris, Susan McKey, Claire Inie-Richards, and Abigail Adams speak of their performing “Steel Magnolias” at People’s Light in Malvern.

    “Truvy’s place is the place where they can be fully themselves, and they really can’t be fully themselves in their domestic arrangements, not in the same way,” Adams said. “They can’t be as outrageous, and they can’t be as vulnerable.”

    It’s the vulnerability, that unyielding support for each other despite personal differences, that the women think today’s audiences will connect with. Though the story — popularized by a film adaptation released in 1989 starring Julia Roberts, Sally Fields, and Dolly Parton — is often thought about as a sentimental tearjerker, it’s injected with lightness, Gauthier said. .

    “It’s kind of like the best episode of like Friends or a TV show you really love, where you just are spending time with these people,” she said.

    “There’s always going to be intrigue and interest and drama, but there’s an element of just sitting with these people that you really enjoy and getting to experience them really fully,” Gauthier said. “It’s really nice to just have these characters that are so easy to fall in love with.”

    “Steel Magnolias” continues through Feb. 15 at People’s Light, 39 Conestoga Rd. in Malvern. Information: peopleslight.org or 610-644-3500.

  • Jeffrey A. Woodley, internationally celebrated celebrity hairstylist, has died at 71

    Jeffrey A. Woodley, internationally celebrated celebrity hairstylist, has died at 71

    Jeffrey A. Woodley, 71, formerly of Philadelphia, internationally celebrated celebrity hairstylist, scholar, youth track and field star, mentor, and favorite uncle, died Wednesday, Dec. 10, of complications from acute respiratory distress syndrome at Mount Sinai West Hospital in Manhattan.

    Reared in West Philadelphia, Mr. Woodley knew early that he was interested and talented in hairstyling, beauty culture, and fashion. He experimented with cutting and curling on his younger sister Aminta at home, left Abington High School before his senior year to attend the old Wilfred Beauty Academy on Chestnut Street, and quickly earned a chair at Wanamakers’ popular Glemby Salon at 13th and Chestnut Streets.

    He went to New York in the mid-1970s after being recruited by famed stylist Walter Fontaine and spent the next 30 years doing hair for hundreds of actors, entertainers, models, athletes, and celebrities. He styled Diahann Carroll, Whitney Houston, Aretha Franklin, Anita Baker, Angela Bassett, Halle Berry, and Tyra Banks.

    He worked with Denzel and Pauletta Washington, Eddie Murphy, Jasmine Guy, Lynn Whitfield, Pam Grier, Melba Moore, Jody Watley, and Karyn White. His hairstyles were featured in GQ, Vanity Fair, Ebony, Jet, Essence, Vibe, Vogue Italia, and other publications, and in advertising campaigns for L’Oréal and other products.

    Mr. Woodley poses with actor Lynn Whitfield.

    For years, actor Terry Burrell said, “He was the go-to hair stylist for every Black diva in New York City.” Pauletta Washington said: “He was responsible for so much of who I became as an artist and a friend.”

    Mr. Woodley worked for Zoli Illusions in New York, Europe, Africa, and elsewhere around the world, and collaborated often with noted makeup artists Reggie Wells and Eric Spearman. Model Marica Fingal called Mr. Woodley “uber talented” on Instagram and said: “He was one of the most skilled artists, creating stunning, innovative styles for models and celebs alike.”

    Friendly and curious, Mr. Woodley told Images magazine in 2000 that learning about the people in his chair was important. “A woman’s hairstyle should take into account the type of work she does, her likes, her dislikes, and her fantasies,” he said. “I’m a stylist, but I never impose hair styles on any client. When we arrive at our finished style, it’s always a collaboration.”

    His hairstyles appeared on record albums and at exhibitions at the Philadelphia Art Museum and elsewhere. He was quoted often as an expert in coiffure and a fashion forecaster. In 1989, he told a writer for North Carolina’s Charlotte Post: “Texture is the key. … Cut will still be important, but the lines will be more softened and much less severe.”

    Mr. Woodley (right) handles hair styling for singer Anita Baker while makeup artist Reggie Wells attends to her face.

    In 2000, he told Images that “low maintenance is the way of the future.” He said: “Today’s woman is going back to school. She has the corporate job. She has children that she needs to send off to school. She doesn’t have time anymore to get up and spend 35 to 40 minutes on her hair. She wants something she can get up and go with.”

    He retired in 2005 after losing his sight to glaucoma. So he earned his General Educational Development diploma, attended classes at the Borough of Manhattan Community College, and studied literature, Black history, and spiritual writing.

    “The entirety of his life was inspired by an insatiable thirst for knowledge,” said his friend Khadija Kamara.

    He was working on his memoir and still taking classes when he died. “He lived life on his own terms,” Burrell said, “and my respect and admiration for his determination will forever be inspiring.”

    Mr. Woodley smiles with track stars and celebrities Jackie Joyner-Kersee (left) and Florence Griffith Joyner.

    As a youth, Mr. Woodley excelled in sprints, relays, and the high jump at St. Rose of Lima Catholic School and Abington High School, and for the Philadelphia Pioneers and other local track and field teams. He ran on Abington’s 440-yard relay team that won the PIAA District 1 championship race at the 1970 Penn Relays and helped set a meet record in the four-lap relay at a 1971 Greater Philadelphia Track and Field Coaches Association indoor meet.

    Family and friends called him authentic, generous, and proud of his Philadelphia roots. He mentored his nieces and nephews and hosted them on long visits to his home in New York.

    “He was one of the most talented people around and always a lot of fun,” a friend said on Facebook. “A beautiful soul and spirit who made others beautiful.”

    Jeffrey Alan Woodley was born May 30, 1954, in Philadelphia. He had an older brother, Alex, and two younger sisters, Aminta and Alicia, and ran cross-country as well as track in high school.

    Mr. Woodley (left) worked with actor and musician Pauletta Washington and makeup stylist Eric Spearman.

    He was always an avid reader and loved dogs, especially his guide dog Polly. He was a foodie and longtime member of the Abyssinian Baptist Church choir in Harlem. His close family and friends called him Uncle Jeff.

    “He was a fun-loving, spirited, and passionate individual,” his brother said. “Uncle Jeff loved the Lord and poured his heart into his work as well as family.”

    His sister Aminta said: “He had a wonderful spirit. He knew the Lord, lived life to the fullest, and was a joy to be with.”

    In addition to his mother, Anna, brother, and sisters, Mr. Woodley is survived by nieces, nephews, and other relatives.

    Mr. Woodley doted on his nieces and nephews.

    A celebration of his life was held Dec. 22.

    Donations in his name may be made to Abyssinian Baptist Church, 132 W. 138th St., New York, N.Y. 10030; and the Anna E. Woodley Music Appreciation Fund at Bowie State University, 14000 Jericho Park Rd., Bowie, Md. 20715.

  • Why touring ‘Suffs’ in Philadelphia under Trump is a ‘radical act’

    Why touring ‘Suffs’ in Philadelphia under Trump is a ‘radical act’

    Broadway playwright, composer, and actor Shaina Taub knows the power of theater to make a political statement. As an enthusiastic teen in Vermont, Taub staged a teach-in to protest the Iraq War at her high school — a bold move inspired by the anti-war musical Hair.

    About a decade later, when she was approached to write a musical about the suffrage movement, Taub recognized another meaningful opportunity to blend activism with theater.

    The one challenge: She was pretty unfamiliar with the American women who fought for the right to vote.

    “I really didn’t know anything,” Taub said.

    She was stunned, but her feelings turned into frustration as she concluded that her American public school education had been seriously lacking. “I was blown back by the scope of this history,” she said.

    That fueled her to create Suffs, the hit musical about the suffrage movement centered on South Jersey Quaker activist Alice Paul, a radical and charismatic organizer played fittingly by Taub herself in the Off-Broadway and Broadway runs.

    Alice Paul, seated second from left, sews the 36th star on a banner, celebrating the ratification of the women’s suffrage amendment in August 1920. The 36th star represented Tennessee, whose ratification completed the number of states needed to put the amendment in the Constitution. (AP Photo, File)

    After premiering in 2022 at New York’s Public Theater for a sold-out run — following the trajectory of another history musical box-office success, HamiltonSuffs opened on Broadway in 2024. It went on to earn six Tony Award nominations.

    Taub took home two, for best book and best score, making history as the first woman to win in both categories independently on a night where Hillary Clinton, a Suffs coproducer, introduced Taub and the cast.

    Now on its first North American tour, Suffs has landed at Philadelphia’s Academy of Music this week (running through Jan. 18) to help kick off a year of events commemorating the 250th anniversary of the nation’s founding. The musical graces the same stage where suffragist Susan B. Anthony once spoke some 150 years ago advocating for the right to vote.

    Though mostly set in the District of Columbia, Suffs has some local shout-outs, too: The show mentions Swarthmore College, where Paul studied before pursuing her master’s at the University of Pennsylvania, and Bryn Mawr College, where President Woodrow Wilson (Suffs’ main antagonist) once taught history and politics.

    “Suffs” on Broadway.

    On opening night at the Academy of Music, director Leigh Silverman nodded to Philadelphia’s history in the suffrage movement, mentioning the protests Paul organized at Independence Hall, only a mile away, and across the city.

    “The suffs you met tonight, and the many, many others … were here in Philadelphia, and they remind us of our collective strength and what is possible when we stand up and fight, despite how far it might seem like we have to go, or for how long we have to keep marching,” she said.

    Taub echoed that sentiment in an interview.

    She believes the tour has been especially significant to stage under President Donald Trump following his policies canceling millions in federal grants for arts organizations nationwide and targeting historical institutions (particularly in Philadelphia) to alter the information they present to the public about slavery.

    “This is the first year of Suffs being performed under this president, and [it feels like] a radical act to get together in the theater and tell these stories,” Taub said.

    She added that it’s acutely meaningful to see the show in Philadelphia as the city reflects on the nation’s history for America250 this year.

    Though the actor/playwright grew up in Vermont, she saw shows in Philadelphia as a kid when she visited family in South Jersey; her mother, Susan Taub, was raised in Cherry Hill, just a few miles down the road from Paul’s childhood home in Mount Laurel.

    Today, it serves as the location of the Alice Paul Center for Gender Justice.

    Despite her connections to the region, Taub admitted that she has not yet visited Paul’s home. She plans to march over there soon.

    “Suffs.” Through Jan. 18, Academy of Music, 240 S. Broad St. ensembleartsphilly.org