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.
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.
One Little Soldier: Opera Philadelphia Streams Soldier Songs
You will not soon forget David T. Little’s harrowing, riveting monodrama, nor Johnathan McCullough’s performance.
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.
reclining standards 