479 stories by "Cameron Kelsall"
'Goodnight Nobody,' a promising and well-produced world premiere at McCarter Theatre Center, still needs to figure out what kind of play it wants to be. Cameron Kelsall reviews.
The Philly Pops paid loving tribute to Marvin Hamlisch, in an evening that highlighted his strengths and weaknesses as a composer. Cameron Kelsall reviews.
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 reading of …
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 reviews.
'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 pharmacolog…
'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.
EgoPo Classic Theater opens a season devoted to Sam Shepard with an intriguing but tonally unbalanced 'Buried Child.' Cameron Kelsall reviews.
Adam Bock's nuanced, moving 'A Small Fire' is the most satisfying production Philadelphia Theatre Company has delivered in years. Cameron Kelsall reviews.
Inis Nua's 'The Night Alive' is a disappointing first foray into the canon of Conor McPherson, Ireland's most notable living playwright. Cameron Kelsall reviews.
Arden Theatre Company's season-opening production of 'Ragtime' is the most intimate critic Cameron Kelsall has ever seen. It's also the least successful.
Part hagiography and part Wikipedia entry, McCarter's 'Gloria: A Life' skims the surface of Steinem. Cameron Kelsall reviews.
Lantern Theater Company's production of 'The Resistible Rise of Arturo Ui' seems curiously stripped of its authoritarian subtext. Cameron Kelsall reviews.
David Hare's 'The Breath of Life,' at South Camden Theatre Company, tells a story of women through the male gaze. Cameron Kelsall reviews.
The national tour of 'Cats' offers a flea-bitten night at the theater. Cameron Kelsall reviews.
