reclining standards

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.

At Classic Stage, this pallid imitation of Brecht & Weill meets a director with the same aesthetic.

Rodgers and Hart’s 1938 dance musical proves impossible to resuscitate.

Scott Ellis’s busy production puts Porter’s sublime musical between a rock and a hard place.

In their best moments, the mezzo and pianist Ted Sperling were near-ideal Bernstein-isti.

What R. B. Schlather’s visually arresting production has to do with the opera remains a mystery.

For sheer charm, I doubt this production will be equaled this year, or for many to come.

Fine voices and musical values here far outshine a cliché-ridden production.

Perhaps unintentionally, Rick Foster’s hagiographic one-hander captures just what’s wrong with America’s most beloved actress.

Peter Sinn Nachtrieb’s play, meant to be funny, shocking and poignant, seems instead to be trying too hard.