REVIEW: Can You Go Home Again?: Broadway’s The Ferryman Revisited in a Tandem Review
An admirable new cast doesn’t own this play as the first one did.
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.
REVIEW: All She Has To Do Is Dream: Lady in the Dark by MasterVoices (for Parterre Box)
To resurrect this astonishing show at all in a brief time frame is almost miraculous.
REVIEW: Pigment of the Imagination: La Bohème at Opera Philadelphia (for Parterre Box)
A wonderful musical performance, hampered by a misguided production.
REVIEW: All My Sons on Broadway: A Critical Dialogue
Critics David Fox and Cameron Kelsall discuss Arthur Miller, and this idea-free, crash-and-burn production.
REVIEW: Sophisticated Hades: Hadestown on Broadway (for Parterre Box)
The sexiest moment on Broadway this season features a 73-year-old man and a single button.
REVIEW: The Smoldering Embers of Lanford Wilson’s Burn This
What once seemed a poignant meditation on AIDS now plays as a study in white privilege.
REVIEW: At the Academy of Music, Anastasia Lays a Fabergé Egg
The audience at this vulgar show doesn’t care about Russian History. What they want is AnastasiaTM.
REVIEW: Sorkin & Sher’s To Kill a Mockingbird Gets the Epcot Treatment
A beloved and very human story here has the glossy sheen of a theme park ride.
REVIEW: Everybody Loves to Break a Bough: The Cradle Will Rock at Classic Stage Company (for Parterre Box)
At Classic Stage, this pallid imitation of Brecht & Weill meets a director with the same aesthetic.
