Wild Things Leave Skins Behind Them: Our Critics Discuss The Fugitive Kind (for Parterre Box)
This version of Orpheus Descending takes off like a rocket.
Author Archives
Cameron Kelsall
Sparkle, Lisette, Sparkle!: Opera Philadelphia’s Archival Production of La Traviata (for Parterre Box)
God is in the details, as they say—and in passage after passage, Oropesa realized those details as few singers have.
What the ‘Cat’ Dragged In (for Parterre Box)
Cameron and David begin their exploration of Tennessee Williams’ Cat on a Hot Tin Roof with a British television adaptation starring Laurence Olivier and Natalie Wood.
‘Glass’ Dismissed: Concluding Our Discussion of The Glass Menagerie (for Parterre Box)
Cameron and David conclude their consideration of THE GLASS MENAGERIE.
Sexy and sinewy: Dame Judi Dench in The Cherry Orchard (for Parterre Box)
Having just watched and written about the famous Actors Studio Three Sisters, it also feels right to turn now to The Cherry Orchard—Chekhov’s final play—in a production from the BBC.
Sisters were doing it for themselves (for Parterre Box)
What a filmed Three Sisters from 1966 can tell us about Method acting, Chekhov and more.
Supporting Our Artistic Community
The spread of COVID-19 will disproportionately impact artists and performing arts institutions. We have compiled information on cancellations and ways to help.
PREVIEW: Opera Philadelphia Unveils Ambitious, Eclectic 2020-2021 Season
From Verdi and verismo to Stravinsky and contemporary music, the line-up offers something to fit every taste. Cameron and David discuss.
REVIEW: The Julius Eastman Revival Reaches the Curtis Institute
The long-neglected composer’s work anchored a concert dedicated to exploring personal identity through music.
REVIEW: The Camera Does the Work in BAM’s Medea
With predictably Eurotrashy design elements, playwright/director Simon Stone reduces Euripides to soap opera.
reclining standards 