REVIEW: In Detroit ‘67, Home is Where the Heart and Heartbreak Are
Dominique Morisseau’s meaty, thought-provoking play gets a terrific production at McCarter.
REVIEW: In Broken Biscuits at 1812, Too Much Charm Equals Too Little Payoff
This tale of terminally unpopular British teenagers feels like a 22-minute sitcom stretched to two hours.
REVIEW:Trouble in Paradise — Double-Bill at Curtis Opera (for Parterre Box)
Chas Rader-Shieber’s conflation was simultaneously over-conceptualized and insufficiently thought through.
REVIEW: In Monster in the Hall, Things Go Bump in the Light
Inis Nua’s Scottish import teeters between grim uncertainty and twinkly charm.
REVIEW: In Love Never Dies at the Academy, He’s Baa-aack
There’s little here about love, but the show suggests that obsession lasts forever.
REVIEW: Glamour, Reconceptualized: the Final Day of O18 (for Parterre Box)
Two final events at O18 sum up the wonders of this extraordinary festival.
PREVIEW: At EgoPo Classic Theater, Two Worlds Meet in Desire Under the Elms
An important but rarely produced American play gets a reboot from a South African company.
REVIEW: An Abundance of Riches in Arden Theatre’s Once
In this enchanting show, the second act is the charm.
REVIEW: When Queens Collide: Queens of the Night at O18 (for Parterre Box)
Blythe’s virtuosity actually anchors the show to opera; Martha not so much.
REVIEW: Dramatic A.R.C.: Glass Handel at O18 / Opera Philadelphia (for Parterre Box)
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
