Philadelphia

REVIEW: Riding on Empty: Two One-Act Operas at Curtis (for Parterre Box)

As a cohesive evening of music drama, this ambitious double bill doesn’t quite add up.

A wonderful musical performance, hampered by a misguided production.

The audience at this vulgar show doesn’t care about Russian History. What they want is AnastasiaTM.

Scott Ellis’s busy production puts Porter’s sublime musical between a rock and a hard place.

In their best moments, the mezzo and pianist Ted Sperling were near-ideal Bernstein-isti.

What R. B. Schlather’s visually arresting production has to do with the opera remains a mystery.

For sheer charm, I doubt this production will be equaled this year, or for many to come.

Fine voices and musical values here far outshine a cliché-ridden production.

Perhaps unintentionally, Rick Foster’s hagiographic one-hander captures just what’s wrong with America’s most beloved actress.

Peter Sinn Nachtrieb’s play, meant to be funny, shocking and poignant, seems instead to be trying too hard.