Criticism

OPERA REVIEW: Beethoven’s Fidelio at Caramoor

Pablo Heras-Casado led a propulsive performance that made a strong case for Beethoven’s problematic opera.

Charles Busch’s delectable theatrical fantasia, on stage at Bucks County Playhouse, sends up beloved movies with skill, affection, and impish glee.

Ginger Dayle’s heartfelt work-in-progress has gotten more attention than perhaps even its creator wants.

Orbiter 3’s latest premiere is Emily Acker’s ambitious, sometimes effective, but not altogether cohesive play.

A listless concert staging proved that this one-off Rodgers & Sondheim collaboration doesn’t need a revival.

Bock, Harnick and Masteroff’s superb show is not a “musical comedy” — so why is it performed like one?

The Princeton Festival’s production of Benjamin Britten’s elliptical opera is an estimable achievement by any standard.

The heroine of Tom Kitt and Brian Yorkey’s musical imagines her life on two paths. If only even one of them led to a better show.

Naomi Iizuka’s complex play, in a visually beautiful production, is a mixed bag.

Lucas Hnath’s slight but provocative play is entertainingly done at Philadelphia Theatre Company.