REVIEW: Quando le serre senza Placido: Philadelphia Orchestra’s Opening Night (for Parterre Box)
Domingo was out and Audra was in, as the Philadelphia Orchestra opens its season. Cameron and David were there…
REVIEW: Is This A Room… Drama, Meet Reality
Tina Satter’s 70 minute play is disturbingly effective, even as it raises questions about the nature of documentary theater.
REVIEW: The Resistible Rise of Arturo Ui Is Harder to Resist Than It Should Be
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.
REVIEW: On Broadway, An Overwhelming Betrayal
Director Jamie Lloyd and a strong trio of actors puncture the pomposity of Harold Pinter’s adultery drama.
REVIEW: When Fringe Meets the American Canon (Part I: Come Back, Little Sheba)
Fringe rethinkings of William Inge and Tennessee Williams have fascinating, sometimes revelatory results.
REVIEW: Die Tote Stadt at Bard, and Leon Botstein’s Korngold Project
Did Bard’s Festival raise our sense of the composer’s classical works? Yes and no.
REVIEW: Trial by Korngold: Concert at Bard SummerScape (for Parterre Box)
The biggest problem here was sensory overload.
FOLLOW-UP: More Thoughts on Daniel Fish’s Oklahoma!
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.
