PARTERRE BOX

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.

This high-gloss production trades on bland Americana at odds Meredith Willson’s sharply satirical, timeless show.

Clare Barron’s play, which explores women and sexual gratification, could be seen as brave or narcissistic or both.

The best of O’Hara’s Long Day is wrenching, illuminating, and will remain with me for a long time.

Opera Philadelphia returns to the stage with an honorable, if not entirely convincing, mixed program.

This audacious and charming new musical is especially welcome for wondrous presence of Victoria Clark.

Katrina Lenk’s Bobbie channels an assertive female persona, but it doesn’t feel fully realized or convincing.

So many of my memories are not simply about shows I loved—they are experiences that literally shaped my life.

This relentlessly upbeat musical about teen suicide raises the question: Is gay without irony even possible?

Morning Sun often feels as occluded and distancing as the austere, featureless set on which it’s performed.