Middle America In Caps: How I Learned to Drive Comes to Broadway (for Parterre Box)
More than just a revival—it’s a reinvigoration of one of the best works of the last 50 years.
Shining Hours: Kevin Puts’ New Opera at the Philadelphia Orchestra (for Parterre Box)
Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music, it’s cordon bleu.
Worth the Wait — Ana Maria Martinez in Recital at PCMS (for Parterre Box)
Martinez is an artist of the first caliber, which was richly evident throughout this imaginative, substantial program.
Doing Something Right: DF reviews Eugene Onegin at Academy of Vocal Arts (for Parterre Box)
Two young casts due justice to Tchaikovsky’s opera — and bring honor to the Academy of Vocal Arts.
Trouble in River City: DF & CK Review Broadway’s The Music Man (for Parterre Box)
This high-gloss production trades on bland Americana at odds Meredith Willson’s sharply satirical, timeless show.
Cries and Whispers: DF and CK review Shhhh at Atlantic Theater (for Parterre Box)
Clare Barron’s play, which explores women and sexual gratification, could be seen as brave or narcissistic or both.
When You Wish Upon a Scar: DF Reviews Long Day’s Journey Into Night (for Parterre Box)
The best of O’Hara’s Long Day is wrenching, illuminating, and will remain with me for a long time.
I Want Your Rex: DF reviews Oedipus Rex + Lilacs at Opera Philadelphia (for Parterre Box)
Opera Philadelphia returns to the stage with an honorable, if not entirely convincing, mixed program.
Everything New Is Old Again: Our Critics Review Kimberly Akimbo (for Parterre Box)
This audacious and charming new musical is especially welcome for wondrous presence of Victoria Clark.
Sorry/Ungrateful: DF and CK on Consider the Revised Company on Broadway (for Parterre Box)
Katrina Lenk’s Bobbie channels an assertive female persona, but it doesn’t feel fully realized or convincing.
reclining standards 