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The Metropolitan Opera’s new production of Alban Berg’s ‘Wozzeck’ too often favors visual flourish over storytelling, but music director Yannick Nézet-Séguin leads a revelatory rea…
An evening of cantatas, presented by Gamut Bach Ensemble and Philadelphia Chamber Music Society, put critic Cameron Kelsall in a Christmas mood.
A confounding narrative framework derails Joyce DiDonato’s ‘Winterreise’ at Princeton University. Cameron Kelsall reviews.
Simpatico Theatre’s production of ‘Natural Shocks,’ a slim but effective play by Lauren Gunderson, benefits from a brilliant performance by Amanda Schoonover. Cameron Kelsall reviews.
Renée Taylor knows her way around a joke. Now 86, the Bronx-born comedienne has spent the better part of seven decades making the public laugh as a writer, actress and personality.
A high musical standard made up for dramaturgical cloudiness in Curtis Opera Theatre’s ‘Il Barbiere di Siviglia’. Cameron Kelsall reviews.
‘An Iliad,’ a didactic refashioning of Homer’s epic poem, receives a flat staging at the Arden’s Horan Studio Theatre. Cameron Kelsall reviews.
‘Love in Hate Nation,’ a joyously original riff on bad-girl movie tropes, continues the copacetic relationship of composer Joe Iconis and Two River Theater. Cameron Kelsall reviews.
Mozart’s ‘Le Nozze di Figaro’ may be a bread-and-butter opera, but that’s no excuse for AVA’s stale staging. Cameron Kelsall reviews.
Azuka Theatre’s production of Dominique Morriseau’s ‘Sunset Baby’ benefits from a sensational central performance. Cameron Kelsall reviews.
Curio Theatre Company’s production of ‘The Mystery of Irma Vep’ isn’t a total drag, but it often misses the comic mark. Cameron Kelsall reviews.
‘Woman and Scarecrow,’ Marina Carr’s enthralling exploration of the end of life, receives a haunting and stunningly acted local premiere from Irish Heritage Theatre. Cameron Kelsall re…
‘Next to Normal’ remains a popular property on the regional-theater circuit, and is currently on stage at Bristol Riverside Theatre. But are the musical’s views on psychiatry and pharm…
‘Tiny Beautiful Things,’ at the Arden Theatre Company, explores the myriad reasons that people seek advice. Cameron Kelsall reviews.
Baseball, absentee fathers, and WWII: ‘Last Days of Summer,’ which opens the season at George Street Playhouse, piles on the clichés. Cameron Kelsall reviews.
Caryl Churchill’s polemical drama ‘A Number’ receives a stunning, thought-provoking production from People’s Light. Cameron Kelsall reviews.
The actors in David Hare’s ‘Skylight’ prepare a pasta dish live on stage. It smells delicious, but we leave the stodgy drama feeling emotionally and intellectually starved. Cameron Kel…
The newly formed Subscension Theatre offers a scrappy yet ambitious production of Brecht’s antiwar drama ‘Mother Courage and Her Children,’ performed al fresco in Headhouse Square. Cam…
‘12 Chairs’ leans into familiar tropes about the mother-daughter dynamic in its world premiere with Juniper Productions. Cameron Kelsall reviews.
‘An Infinite Ache’ at South Camden Theatre Company offers a stale portrait of what it means to be part of a couple. Cameron Kelsall reviews.
A strong season of local August Wilson productions continues with ‘Fences’ at University of Delaware’s Resident Ensemble Players. Cameron Kelsall reviews.
Two operas written nearly a century apart consider the familial wounds that time doesn’t heal. Cameron Kelsall reviews.
Extraordinary singing from several locally trained performers salvages Opera Philadelphia’s vulgar, high-concept ‘La Bohème.’ Cameron Kelsall reviews.
Sarah Ruhl’s moving family dramedy ‘For Peter Pan on Her 70th Birthday’ receives an uneven staging at People’s Light. Cameron Kelsall reviews.
The national tour of ‘Anastasia,’ at the Academy of Music, delivered on spectacle but not coherent storytelling. Cameron Kelsall reviews.
Gabriel Jason Dean’s ‘Heartland,’ at InterAct Theatre Company, gets awkwardly stuck between kitchen-sink drama and didactic political play. Cameron Kelsall reviews.
New York’s Classic Stage Company revives the legendary ‘The Cradle Will Rock’, by Philadelphia-born composer Marc Blitzstein. Cameron Kelsall reviews.
Philadelphia Artists’ Collective’s ‘Tis Pity She’s a Whore’ is revenge tragedy done rippingly right. Cameron Kelsall reviews.
‘How to Catch Creation’ launches an ambitious, important push for greater representation at Philadelphia Theatre Company, but Christina Anderson’s play feels frustrating and predictabl…
‘The Few’ considers the desolate lives of long-haul truckers, but Theatre Horizon’s production of Samuel D. Hunter’s play sets an inconsistent tone. Cameron Kelsall reviews.
EgoPo Classic Theater concludes its South African season with two perspectives on life under apartheid. Cameron Kelsall reviews.