Everybody Is Nothing Until You Love Them: Our Critics Watch The Rose Tattoo (for Parterre Box)
It would be impossible to overpraise Anna Magnani’s performance.
Learning to Fly: Myths and Hymns, Part I from MasterVoices (for Parterre Box)
MasterVoices’ epic project may be the best showcase Guettel’s work has yet received.
Call of the Wild: Zachary James’ New Visual Album (for Parterre Box)
Call Out is an inspiring example of artistic light generated even when our theaters are temporarily dark.
Jamie & Julia: Opera Philadelphia Streams Lee Hoiby’s Bon Appétit (for Parterre Box)
As Julia Child, Jamie Barton is clearly having the time of her life.
Lady Drinks the Booze: Our Critics Look at Smash-Up and I’ll Cry Tomorrow
I’ve said it before, and I’ll say it again: nobody hits rock bottom like Susan Hayward.
I Guess That’s Why They Call It the Blues: Our Critics discuss Ma Rainey’s Black Bottom (for Parterre Box)
Netflix adaptation hits the marks of Wilson’s original while settling into a more focused filmic style.
The Gang’s All Queer: Our Critics Discuss Ryan Murphy’s film of The Prom (for Parterre Box)
If the original version of The Prom had zazz—Ryan Murphy’s adaptation barely achieves fizz.
Philadelphia Stories: Two Local Theaters Enter the Streaming World (for Parterre Box)
With virtual streamed productions, the Wilma and PTC show that a path forward might also bring national recognition.
I Soil Easily: Our Critics Discuss I Want to Live! (for Parterre Box)
The camp elements here–including Susan Hayward’s performance–are undeniable, yet I WANT TO LIVE is a sincere and important movie.
“There’s a Speed Limit in this State:” DF and CK discuss Double Indemnity (for Parterre Box)
Featuring Barbara Stanwyck’s blood-chilling performance, this may be the greatest Film Noir ever.
