reclining standards

armchair observations on theater, music, and more with your hosts, david fox and cameron kelsall

  • ABOUT RECLINING STANDARDS

REVIEW: Out of the Blue: Porgy and Bess at the Philadelphia Orchestra (for Parterre Box)

March 8, 2020

Even in a concert performance, soprano Angel Blue’s radiance and warmth shine through.

REVIEW: In Theatre Horizon’s The Agitators, Two 19th Century Superheroes Join Forces

March 5, 2020

Opening night had an extraordinary feeling of community. Isn’t that what theater should be about?

REVIEW: Azuka’s Ship Is Funny, Poignant, and Altogether Engrossing

February 29, 2020

Playwright Douglas Williams’ ear for Millennial patois is superb… and his eye for character even better.

REVIEW: She Ain’t Down Yet: The Unsinkable Molly Brown at Transport Group (for Parterre Box)

February 27, 2020

Beth Malone is the Molly Brown of our dreams, say Cameron and David.

PREVIEW: Opera Philadelphia Unveils Ambitious, Eclectic 2020-2021 Season

February 27, 2020

From Verdi and verismo to Stravinsky and contemporary music, the line-up offers something to fit every taste. Cameron and David discuss.

REVIEW: Look What Happened to Mabel: Mack and Mabel at Encores (for Parterre Box)

February 25, 2020

Time heals almost everything, as Jerry Herman’s best score is stylishly resurrected.

REVIEW: The Julius Eastman Revival Reaches the Curtis Institute

February 24, 2020

The long-neglected composer’s work anchored a concert dedicated to exploring personal identity through music.

REVIEW: After the Parade: Hello, Dolly! at the Academy of Music (for Parterre Box)

February 24, 2020

This charmless, shrill Dolly did not have me at Hello!

REVIEW: FAVORITE Things — La Favorite at AVA (for Parterre Box)

February 19, 2020

Seen and heard here, Donizetti’s late work was stronger on vocal power than bel canto nuance.

REVIEW: In EgoPo’s Fool for Love, Intimacy Gone to Waste

February 13, 2020

The electric current that needs to run through Sam Shepard’s great play is curiously low-voltage here.

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