reclining standards

armchair observations on theater, music, and more with your hosts, david fox and cameron kelsall

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REVIEW: Sorkin & Sher’s To Kill a Mockingbird Gets the Epcot Treatment

April 9, 2019

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)

April 4, 2019

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

REVIEW: Winged Defeat: I Married An Angel at Encores (for Parterre Box)

March 26, 2019

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

REVIEW: One More Kiss: Kiss Me Kate at Roundabout (for Parterre Box)

March 22, 2019

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

REVIEW: Easily Assimilated—Isabel Leonard Sings Bernstein at PCMS (for Parterre Box)

March 19, 2019

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

REVIEW: They Love a Piano: Don Giovanni at Curtis/Opera Philadelphia (for Parterre Box)

March 11, 2019

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

REVIEW: In Da at Irish Heritage Theatre, the Ordinary Becomes Extraordinary

March 9, 2019

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

REVIEW: That’s How They’ve Done It: Cosi Fan Tutte at Academy of Vocal Arts (for Parterre Box)

March 8, 2019

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

REVIEW: Walnut Street’s Kate: The Unexamined Life Gives Us Hepburn With Tears

March 8, 2019

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

REVIEW: Azuka’s Bob is a Picaresque Romp with a Hipster Sneer

March 5, 2019

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

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