ACCESS: Temple Theaters
1301 W. Norris St, Philadelphia, PA 19122
https://tfma.temple.edu/theater/productions | 215-204-1122
SEPTA: Broad Street Line to Cecil B, Moore
For more than 50 years, Temple Theaters has been a vital piece of the Philadelphia theater community, helping to shape and hone new talent, while producing elite level work that delights audiences. Our 2018-19 season promises to be a dynamic and intriguing one with bold modern productions, emotionally enriching classics, and gorgeous musicals. ACCESS Philly tickets can be reserved by emailing Theater@temple.edu or calling 215-204-1122.
Accessibility may vary with each show. Please call ahead of time to make appropriate
arrangements at (215) 204-1122.
Showtimes may vary, Visit Temple Theater’s website.
Love’s Labour’s Lost | February 20 through February 28, 2020
At their five-year college reunion, the King and his friends completely swear off the idea of falling in love, but when four eligible young women from their past show up, their resolve begins to weaken. Faithfully following the original Shakespearean text but with the addition of an infectious pop-musical score and modern sensibilities, this show features incredible theatrical charm borne of the collaboration of Philadelphia native, Michael Friedman and Alex Timbers (Bloody, Bloody Andrew Jackson). Romance, revelry and enchanting music unite in this contemporary, yet classic, musical adaption of Shakespeare’s comedy.
The Country Wife | March 27 through April 5, 2020
Banned for nearly 200 years for its salacious content, this classic, ribald, restoration comedy of coquettes and cuckholds is a playful sex-fueled satire telling the story of society rake, Harry Horner, who seduces married women by spreading rumors of his own sexual impotence. When Horner meets the titular character, however, the seemingly innocent Margery Pinchwife, she manages to twist his plot on its head. Everyone hides their true intentions and every entendre is doubled in this new adaptation by Rachel Atkins which modernizes restoration themes while highlighting the gloriously unabashed sensibility-shattering cleverness of Wycherley’s language.