An elegantly streamlined makes the best case for the show I’ve yet seen.
Sarah Silverman’s memoir-musical takes on a traumatic subject with an uneasy mix of crude comedy and serious themes.
Can we start by not using Barbra Streisand as a polestar here?
The collective audience sigh of joy that greeted the opening chords signaled success from the start.
For all of the ingenuity and accomplishment of director Lileana Blain-Cruz and company, something here doesn’t add up.
The undisputed cause célèbre here — for better or worse — is director Simon Stone.
More than just a revival—it’s a reinvigoration of one of the best works of the last 50 years.
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music, it’s cordon bleu.
Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial program.
A Philly That Is Ready for the Race: Opera Philadelphia Announces the 2022-23 Season (for Parterre Box)
I felt a surge of joy learning the Festival O will return in September.