Domingo was out and Audra was in, as the Philadelphia Orchestra opens its season. Cameron and David were there…
Tina Satter’s 70 minute play is disturbingly effective, even as it raises questions about the nature of documentary theater.
For better and worse, Lantern Theater’s production charms rather than alienates us.
REVIEW: When Fringe Meets the American Canon (Part II: And Tell Sad Stories of the Deaths of Queens)
EgoPo Theatre makes a welcome return to Tennessee Williams’ with this fascinating dramaticule.
Director Jamie Lloyd and a strong trio of actors puncture the pomposity of Harold Pinter’s adultery drama.
Fringe rethinkings of William Inge and Tennessee Williams have fascinating, sometimes revelatory results.
Did Bard’s Festival raise our sense of the composer’s classical works? Yes and no.
The biggest problem here was sensory overload.
Although I saw this provocative production a month ago, I continue to think about it.
REVIEW: A Grandeur Night for Singing: Yannick Nézet-Séguin’s Zauberflöte Recording (for Parterre Box)
The maestro captures superbly this work’s complex mix of diverse elements.