Either Less or More: Into the Woods at the Arden Theatre (for Parterre Box)
An elegantly streamlined makes the best case for the show I’ve yet seen.
Wet Blanket: David and Cameron Review Bedwetter at Atlantic Theater Company (for Parterre Box)
Sarah Silverman’s memoir-musical takes on a traumatic subject with an uneasy mix of crude comedy and serious themes.
Grand Passion: Rigoletto at Opera Philadelphia (for Parterre Box)
The collective audience sigh of joy that greeted the opening chords signaled success from the start.
The End of This Play Isn’t Written Yet: The Skin of Our Teeth at Lincoln Center (for Parterre Box)
For all of the ingenuity and accomplishment of director Lileana Blain-Cruz and company, something here doesn’t add up.
Stained Class: Lucia di Lammermoor at the Met (for Parterre Box)
The undisputed cause célèbre here — for better or worse — is director Simon Stone.
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.
reclining standards 