REVIEW: Reliving the ‘60s with Catch-22 at Curio Theatre
Is this once-iconic satire still viable, or a historical curiosity? That is the question.
REVIEW: Medium, Cool: Mahagonny / Medium from Curtis & Opera Philadelphia (for Parterre Box)
The provocative show that director Emma Griffin offers here goes beyond a reimagined staging.
REVIEW: In Inis Nua’s Our Few and Evil Days, Family History Goes Awry
What’s most unsettling here happens quietly in the shadows.
REVIEW: In 1812 Productions’ Hope and Gravity, Romance has its Ups and Downs
Michael Hollinger’s funny and clever play could use more gravity.
REVIEW: Thank You for Smoking: Opera Philadelphia’s Carmen (for Parterre Box)
How do you like your Carmen? The role – and Bizet’s opera – contain multitudes.
REVIEW: Sing the Body Electric at Theatre Exile is a World Lit by Lightning
In Michael Hollinger’s perplexing but enchanting play, getting there is the best part.
REVIEW: In a Streamlined Saint Joan, the Grandeur Goes Up in Smoke
With Shaw’s go-big-or-go-home masterpiece, playing it small and safe is not good enough.
REVIEW: A Sparkling and Poignant La Traviata at AVA
The vocal standards are high, and the pleasure of discovering new talent always exhilarating.
Six Questions with Daniela Mack, Opera Philadelphia’s Carmen
Mack, who opened the season creating a new role, is now back in an iconic one.
REVIEW: Simon Stone’s Yerma, and the Problem with Critics
Can we please stop fetishizing female angst as the highest form of acting?
reclining standards 