An elegantly streamlined makes the best case for the show I’ve yet seen.
Sarah Silverman’s memoir-musical takes on a traumatic subject with an uneasy mix of crude comedy and serious themes.
Can we start by not using Barbra Streisand as a polestar here?
For all of the ingenuity and accomplishment of director Lileana Blain-Cruz and company, something here doesn’t add up.
More than just a revival—it’s a reinvigoration of one of the best works of the last 50 years.
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.
Katrina Lenk’s Bobbie channels an assertive female persona, but it doesn’t feel fully realized or convincing.