Elizabeth Wellington

1 month ago | mahoningmatters.com | Elizabeth Wellington

It's an exciting time to be a Philly writer. Peacock debuted its limited edition thriller Long Bright River based on South Philadelphia writer Liz Moore's novel of the same name Thursday. Frankford's Joseph Earl Thomas' God Bless You, Otis Spunkmeyer won the Center for Fiction's prestigious First Novel Prize last December. And our own Marie-Helene Bertino's Beautyland was named one of the New York Times' 100 Notable Books of 2024.

1 month ago | inquirer.com | Elizabeth Wellington

It’s an exciting time to be a Philly writer. Peacock debuted its limited edition thriller Long Bright River based on South Philadelphia writer Liz Moore’s novel of the same name Thursday. Frankford’s Joseph Earl Thomas’ God Bless You, Otis Spunkmeyerwon the Center for Fiction’s prestigious First Novel Prize last December. And our own Marie-Helene Bertino’s Beautyland was named one of the New York Times’ 100 Notable Books of 2024.

1 month ago | mahoningmatters.com | Elizabeth Wellington

In 1993, Melanye Finister played Beneatha Younger in People's Light & Theatre Company's A Raisin in the Sun. More than 30 years later, when People's Light approached her to return to the play, she wondered why the world needed yet another theatrical production of the Lorraine Hansberry classic. Also, did Finister really want to play Lena, Beneatha's and Walter Lee Younger's overbearing mother?

1 month ago | inquirer.com | Elizabeth Wellington

In 1993, Melanye Finister played Beneatha Younger in People’s Light & Theatre Company’s A Raisin in the Sun. More than 30 years later, when People’s Light approached her to return to the play,she wondered why the world needed yet another theatrical production of the Lorraine Hansberry classic. Also, did Finister really want to play Lena, Beneatha’s and Walter Lee Younger’s overbearing mother?

1 month ago | inquirer.com | Elizabeth Wellington

A child-sized piano sits atop a grand ivory-keyed Steinway & Sons in the Marian Anderson Museum and Historical Society’s restored parlor. During a recent visit, the museum’s steward, Jillian Patricia Pirtle, tinkered with a refurbished chandelier lamp on top of the Steinway and a soft glow streamed through the crystals. “This is the first time I’ve plugged it in,” Pirtle said, the rapid staccato of her high-pitched voice, belying a weary fatigue.