Criticism

MOVIE REVIEW: Meryl Streep and Hugh Grant Make Music in Florence Foster Jenkins

Stephen Frears’ film isn’t a great movie, but it’s a sweet and surprisingly touching one.

Ambiguity surrounds Louis CK’s self-produced Horace and Pete — what is it exactly?

Ray Didinger’s play, a natural fit for Philly sports fans, is always enjoyable, but not often more than that.

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.