REVIEW: Easily Assimilated—Isabel Leonard Sings Bernstein at PCMS (for Parterre Box)
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)
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
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)
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
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
Peter Sinn Nachtrieb’s play, meant to be funny, shocking and poignant, seems instead to be trying too hard.
REVIEW: Delaware Theater Company’s Saint Joan… or, the Death of Subtext
An unspeakably vulgar adaptation of Shaw’s magnum opus is an alarm bell we shouldn’t ignore.
REVIEW: Adriana Lecouvreur at the Met (for Opéra Magazine)
Anna Netrebko and Anita Rachvelishvili shine especially bright in this worthy revival.
REVIEW: Spring is Here: The Day Before Spring at Musicals in Mufti (for Parterre Box)
Lerner and Loewe’s “lost” musical is a wonderful oddity that should be better known.
REVIEW: Gatz at McCarter is a Postmodern Romp Through Fitzgerald Country
Elevator Repair Service provides plenty of ironic spin but misses its own sense of privilege.
