Criticism

THEATER REVIEW: In 1812’s Happy Birthday — Couples, Uncouples, and Doors, Doors, Doors

There’s considerable accomplishment and comic virtuosity here in Marc Camoletti’s farce.

A fine cast, expert conducting, and beautiful designs are hallmarks of Opera Philadelphia’s production.

One of the three plot strands in Stef Smith’s sincere play is for the ages.

There are many wonderful things in Annie Baker’s new play, but it loses its way.

John Guare’s still-wonderful play deserves better than Trip Cullman’s glossy, shallow revival.

This amped-up version has its own rewards—especially in the marvelous Euan Morton.

What should be shocking and hilarious emerges here as kind of naughty and sort of funny.

I would gladly have stayed on to see this gorgeous show a second time.

Even when we’re not clear where Mia Chung’s play is going, the trip is more than worthwhile.

Walnut Street’s production captures the arch surface of Wilde’s script, but not its anarchic zing.