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Dan Rottenberg

01.24.2006

Dan Rottenberg’s biography. For more information, visit his personal website at www.danrottenberg.com.

For a list of articles by this author, click here.

Journalist Dan Rottenberg has been the chief editor of seven publications, most recently broadstreetreview.com, a cultural arts website he launched in January 2006 with the support of the University of the Arts. He is also the author of ten books, most recently Death of a Gunfighter, published in October 2008 by Westholme Publlshing.

His previous books include Finding Our Fathers, a guide to tracing Jewish ancestors (1977); Fight On, Pennsylvania, a college football history (1985); Wolf, Block, Schorr and Solis-Cohen, the history of a Philadelphia law firm (1988); Main Line Wasp, the memoirs of Philadelphia civic leader W. Thacher Longstreth (1990); Revolution on Wall Street, a chronicle of the securities industry (1993); Middletown Jews, an oral history of the Jews of Muncie, Indiana (1997); The Inheritor’s Handbook (1998); The Man Who Made Wall Street, a biography of Anthony Drexel (2001) and In the Kingdom of Coal, a narrative history of the U.S. coal industry as seen through the eyes of two families (Routledge, 2003).

From 2000 to 2004 he was editor of Family Business, an international quarterly magazine dealing with family-owned companies, where he remains senior editor. From 1996 to 1998 he was editor of the Philadelphia Forum, a weekly Philadelphia opinion paper which he founded in 1996. In 1993 he created Seven Arts, a monthly magazine based in Philadelphia. From 1981 to 1993 he edited the Welcomat, a unique Philadelphia-based weekly opinion forum, now known as Philadelphia Weekly.

He wrote an editorial-page column for the Philadelphia Inquirer from 1978 to 1997. He has written more than 300 articles for such magazines as Town & Country, Reader’s Digest, The New York Times Magazine, Forbes, Civilization, American Benefactor, TV Guide, Playboy, Rolling Stone, Chicago and many others. He served as a consultant in 1981 when Forbes launched its annual "Forbes 400" list of wealthiest Americans. His syndicated film commentaries appeared in monthly city magazines around the U.S. from 1971 to 1983.

Earlier in his career he was executive editor of Philadelphia Magazine, managing editor of Chicago Journalism Review, a Wall Street Journal reporter, and editor of the Commercial-Review, a daily newspaper in Portland, Indiana.

Dan Rottenberg is a native of New York City and a 1964 graduate of the University of Pennsylvania. He lives in Philadelphia with his wife, a piano teacher. Their two grown daughters live and work in New York City.

For more information, visit Dan Rottenberg’s personal website at www.danrottenberg.com.

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More articles by Dan Rottenberg, newest first

Ethnic humor: Tips for Dr. Laura	August 31 2010
As someone who has practiced journalism, comedy writing and speechwriting for a living, let me attempt to set Dr. Laura Schlessinger straight about the rules of rhetoric, which also happen to be the rules of common sense.
What hath Steven Slater wrought?	August 24 2010
Are you as inspired as I am by the dramatic resignation of JetBlue flight attendant Steven Slater? Let’s consider how other frustrated service workers might follow his example.
The ‘right’ to gay marriage, reconsidered	August 17 2010
When a California judge ruled that gay people have the right to get married, he made the right decision for the wrong reason. Marriage is no mere private contract; it’s a lifelong commitment that two spouses make not only to each other but also to their community. That's not a right; it's a heavy responsibility.
The trouble with ‘All About Eve’	August 10 2010
All About Eve won the 1950 Academy Award for Best Picture, and ever since it has been justly acclaimed for its incisive portrait of Broadway backstage backstabbing. But something about this classic always bothered me, specially when it’s contrasted to Budd Schulberg’s Hollywood novel, What Makes Sammy Run?
My words, echoed by Woody Allen	July 31 2010
Once in a blue moon a critic finds his thoughts and words echoed by the very object of his criticism. This deliriously serendipitous experience recently happened to me. My object, of all people, was Woody Allen.
George Steinbrenner in peace and war	July 26 2010
George Steinbrenner, the imperious and fiercely competitive boss of the New York Yankees who died on July 13, made a fetish of modeling himself after military figures. Unlike his heroes, he seems not to have understood the critical differences between sport and warfare.
On not pitying Palestinians: A reply	June 15 2010
For the sake of argument, let’s suppose that all Palestinians are violent and self-destructive. Do they therefore forfeit any claim to our sympathy? For the answer, turn to Victor Hugo.
‘If You Give a Mouse a Cookie’ at the Arden	June 12 2010
Arden Theatre’s adaptation of Jody Davidson’s tale about a boy who attempts to appease an incorrigible mouse is a non-stop delight for all ages, laced with gags inspired by the Marx Brothers, Martin and Lewis and Good Dog Carl. If You Give a Mouse a Cookie. Adapted by Jody Davidson from the story by Laura Numeroff; directed by Whit MacLaughlin. Through Jun 27, 2010 at Arden Theatre’s Arcadia Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
Philadelphia writers, seen from the future	June 01 2010
It was the dawn of a Golden Age: the Age of Fried and Bissinger, of Platt and Scottoline— yes, of Yoo and Santorum and countless other literary luminaries whose destinies converged on the bustling sidewalks of Nutter’s Philadelphia.
‘Ma Rainey’s Black Bottom’ by PTC	May 27 2010
Ma Rainey’s Black Bottom uses a blues band’s 1927 recording session to illuminate the self-destructive black rage engendered by centuries of white oppression. This compelling revival by Philadelphia Theatre Company demonstrates that, like all works of art, August Wilson’s modern classic succeeds at several other levels as well. Ma Rainey’s Black Bottom. By August Wilson; directed by Irene Lewis. Philadelphia Theatre Co. production through June 13, 2010 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 885-1400 or www.philadelphiatheatrecompany.org.
My neighbor, Lena Horne	May 24 2010
Lena Horne was a beautiful and talented woman, justly embittered by the labels American society pasted on her. As her neighbor in New York in the ‘50s and ‘60s, I witnessed some of that bitterness firsthand.
LA Philharmonic visits Verizon Hall (1st review)	May 21 2010
The LA Philharmonic’s sexy young music director, Gustavo Dudamel, invariably prompted comparisons with Philadelphia’s leaderless orchestra. But those comparisons weren’t all favorable. Los Angeles Philharmonic: Adams, City Noir; Tchaikovsky, Sixth Symphony (“Pathétique”). Gustavo Dudamel, conductor. May 19, 2010 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (212) 790-5800 or www.kimmelcenter.org.
Free speech for corporations? Yes	May 18 2010
Is free speech for corporations a threat to democracy? Most leading liberal voices presume that it is. As an editor who has spent much of his career fighting for free speech for everyone, I would argue the contrary: Free speech for corporations actually benefits democracy.
Opera Company's flapper 'Traviata' (1st review)	May 10 2010
The Opera Company of Philadelphia’s latest production of La Traviata is set not in the repressed 1840s but in the Roaring 1920s. It’s a first-rate production with two ideally cast new faces. But the anachronistic setting undermines the opera’s timeless message about the individual’s place in society. La Traviata. Opera by Giuseppe Verdi; Robert B. Driver directed; Corrado Rovaris, conductor. Opera Company of Philadelphia production through May 16, 2010 at Academy of Music, Broad and Locust St. (215) 732-8400 or www.operaphila.org.
1812's ‘Evening Without Woody Allen’	May 06 2010
Woody Allen’s published stories from the 1970s can make you laugh out loud. So why shouldn’t acting them out before an audience produce the same effect? For several good reasons, actually. An Evening Without Woody Allen. Stories and essays by Woody Allen, adapted and directed by Jennifer Childs. Presented by 1812 Productions through May 16, 2010 at Plays and Players, 1724 Delancey Pl. (215) 592-9560 or www.1812productions.org.
A Supreme Court without Protestants	May 04 2010
When Justice John Paul Stevens retires this summer, he will leave the Supreme Court without any Protestant justice at all for the first time in history. Protestants are being dislodged from other sectors of society as well. Is God trying to tell us something?
Pianist Yuja Wang at Verizon Hall	May 03 2010
Pianist Yuja Wang is an old soul in a young body, a native of 20th-Century China who at the age of 23 has somehow channeled the emotions of 19th-Century European masters. Yuja Wang: Piano recital. April 29, 2010 at Verizon Hall, Kimmel Center, Broad and Spruce St. (215) 893-1999 or www.kimmelcenter.org.
‘Vincere’ and the pitfalls of passion	April 27 2010
How could a society nurtured by Dante, Michelangelo, Verdi and Puccini fall in love with a tacky bully like Benito Mussolini? Marco Bellochio’s remarkable Vincere goes a long way toward supplying the answer. Vincere. A film by Marco Bellocchio. In Italian with English subtitles. At the Ritz 5, 214 Walnut St. (215) 925-7900 or www.landmarktheatres.com.
The perils of free association	April 20 2010
The Christian Legal Society, an evangelical student group, appears to have run into a problem that neither law nor religion can solve: Non-Christians keep joining it and passing non-Christian resolutions. If faith can’t solve this conundrum, surely human ingenuity can.
Collectors, artists and Albert Barnes	April 13 2010
Set aside the legal issues surrounding the Barnes Foundation’s coming move. The more fascinating question isn’t legal but philosophical: Ultimately, whose vision should take precedence— the artist’s, or the collector’s?
The pointless search for Barnes villains	April 06 2010
The Barnes Foundation’s move from Merion to the Parkway may be an artistic tragedy, but the relentless search for villains is a misguided distraction. If there’s any villain in this saga, it’s Albert Barnes himself, who imposed so many restrictions on his Barnes Foundation that no sane philanthropist would help rescue the place until his trust was broken.
‘Red Hot Patriot’: Kathleen Turner as Molly Ivins (1st review)	March 25 2010
The late spunky Texas journalist Molly Ivins makes an inspired and inspiring subject for a one-woman stage play. The problem with Red Hot Patriot lies in the two-dimensional nature of journalism, as opposed to drama or literature. Red Hot Patriot: The Kick-Ass Wit of Molly Ivins. By Margaret Engel and Allison Engel; directed by David Esbjornson. Philadelphia Theatre Co. world premiere through April 25, 2010 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
Priestly sex abuse: Why Catholicism?	March 15 2010
Given the onerous requirements of the priestly vocation, the remarkable thing about Roman Catholic priests is not that so many of them are sexual abusers, but that so many of them aren’t.
Mary Martello’s ‘Happily Ever After’	March 11 2010
The charming Mary Martello’s cute idea— what happens to fairy-tale heroines after they find their charming princes?— is undermined by a weak script that’s too often repetitive and obvious. Happily Ever After. Written and performed by Mary Martello; Jennifer Childs directed. Produced by 1812 Productions through March 28, 2010 at Adrienne Theatre, 2030 Sansom St. (215) 592-9560 or www.1812productions.org.
‘Annie’ without the Depression	March 08 2010
Annie wasn’t much of a show to begin with. Now its original target audience is dying out. Does that mean its setting— the Great Depression of the ’30s— should be scrapped?
A Governor’s Romance (song)	March 01 2010
When a governor is caught with his pants down, who will defend him? Where is the Bellini or Verdi who can do justice to such tragedy? BSR’s gonzo lyricist Dan Rottenberg rushes in where others fear to tread.
Graham’s ‘Any Given Monday’ by Theatre Exile (1st review)	February 12 2010
Bruce Graham purports to create an edgy satire of modern mores, in which an idealistic teacher benefits from the murder of his romantic rival. But Graham is just too soft around the edges. Instead of pushing the envelope of comedy, he stays carefully within its existing borders. Any Given Monday. By Bruce Graham; directed by Harriet Power (world premiere). Co-production of Theater Exile and Act II Playhouse through February 28, 2010 at Plays and Players, 1726 Delancey Pl. (215) 218-4022 or www.theatreexile.org.
J.D. Salinger and the cult of the recluse	February 01 2010
Why are we so indulgent toward our society’s gifted hermits? If Salinger or Glenn Gould suddenly decides to stop doing what he’s doing, why do we let them off the hook? Didn’t these allegedly great minds ever read John Donne, or St. Luke?
McNally’s ‘Golden Age’ by PTC (1st review)	January 29 2010
In the backstage bickering of singers and composer during the opening night of Bellini’s I Puritani, Terrence McNally has the raw materials for an intriguing drama. Unfortunately, McNally’s Golden Age consists of more than three interminable hours of operatic name-dropping and hackneyed expository dialogue. Golden Age. By Terrence McNally; directed by Austin Pendleton. Philadelphia Theatre Co., production through February 14, 2010 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
Pianist Robert Levin with the Orchestra	January 25 2010
Last weekend’s unexpected treat was the pianist Robert Levin, a Harvard humanities professor endowed with the mind of a composer as well as a very entertaining teacher, who took the Philadelphia Orchestra’s audience on an exuberant journey inside Mozart’s mind. Philadelphia Orchestra: All Mozart Program. Incidental Music from Thamos, King of Egypt; Piano Concerto #18 in B-flat major, K. 456; Symphony No. 40 in G. minor, K. 550. Nicholas McGegan, conductor; Robert Levin, piano. (215) 893-1999 or www.philorch.org.
‘Peter Pan’ at the Arden	January 18 2010
Douglas Irvine has apparently heard the Peter Pan story so often that he sees no need to dramatize the contrast between Edwardian London and the mythical Neverland. And without that conflict, the story loses its point. Peter Pan. Adapted by Douglas Irvine from the J.M. Barrie books; David O’Connor directed. Through January 31, 2010 at Arden Theatre, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
‘Becky Shaw’ at the Wilma (1st review)	January 08 2010
This remarkably intelligent and moving play can’t easily be pigeonholed as either a wicked comedy or a devastating psychodrama. Gina Gionfriddo’s concern is the process by which human relationships change people for better or worse. Whether that makes you laugh or cry depends on your individual circumstances at a given moment. Becky Shaw. By Gina Gionfriddo; directed by Anne Kauffman. Through February 7, 2010 at Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
China: Threatening, or threatened?	January 05 2010
Americans may hate or fear China’s rising economic power. But most of us have bought into the notion that China’s leaders really know what they’re doing. China’s leaders themselves, I suspect, know otherwise.
Peggy Amsterdam: A '60s woman	December 29 2009
Peggy Amsterdam galvanized Philadelphia’s organized arts community in the first decade of our century, as her obituaries duly noted. But where did this remarkable woman come from? That is the most interesting question of all.
Up (too) close to Eagles heroes	December 14 2009
Our contributor Bob Ingram recently attacked the current corporatized Philadelphia Eagles management, expressing his preference for the flesh-and-blood blue-collar owners and coaches of yesteryear. But has Ingram actually met any of his heroes? I have, and therein lies a lesson.
‘This Is the Week That Is’ by 1812 Productions (1st review)	December 11 2009
Why does a sophisticated comedy troupe like 1812 Productions persist in sophomoric political satire like This Is the Week That Is? This Is the Week That Is: The New Administration. Conceived and directed by Jennifer Childs; head writer Don Montrey. Presented through January 3, 2010 by 1812 Productions at Plays and Players Theatre, 1724 Delancey Pl. (215) 592-9560 or www.1812productions.org.
‘Harold and the Purple Crayon’ at the Prince	December 07 2009
Crockett Johnson’s 50-year-old paean to the childish imagination is well served here. Every kid’s attention was focused raptly on the stage, thanks to a remarkable non-stop combination of music, dance, animation and puppetry. The Adventures of Harold and the Purple Crayon. Music by Charles Gilbert; directed and choreographed by Leslie Reidel; adapted by Jennifer Blatchley Smith, Landis Smith and Reidel from the books by Crockett Johnson. Enchantment Theatre Co. production through January 3, 2009 at Prince Music Theater, 1412 Chestnut St. (215) 881-9899 or www.enchantmenttheatre.org/shows/harold.html.
‘Light in the Piazza’ by PTC (2nd review)	November 22 2009
This first-rate adaptation of Elizabeth Spencer’s novella combines elements that are more original, sensitive, personal, even courageous than we’re accustomed to find in musical theater. But The Light in the Piazza suffers from two serious flaws. The Light in the Piazza. Book by Craig Lucas; music and lyrics by Adam Guettel; directed by Joe Calarco. Philadelphia Theatre Co. production through December 13, 2009 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
‘Oliver’ at the Walnut	November 19 2009
What is it that attracts Broadway musicals to urban poverty? Great performances can cover a multitude of sins. But with merely competent performances, like those in this production of Oliver, you begin to notice cracks in the show’s underlying structure. Oliver. Book, music and lyrics by Lionel Bart; directed by Mark Clements. Through January 10, 2010 at Walnut Street Theatre, 825 Walnut St. (212) 574-3550 or www.walnutstreettheatre.org.
Religion: Good or evil?	November 16 2009
Is religion a force for good or evil in the world? Maybe that’s the wrong question. In a constantly evolving world, yesterday's force for good often becomes today's obstacle to progress.
Fugard’s ‘Coming Home’ at the Wilma	November 06 2009
As her dreams collapse around her, a high-spirited South African woman discovers an unexpected silver lining. In this riveting and lyrical production, the Wilma Theater continues its long-standing role as an incubator for Athol Fugard’s continuing growth in the post-apartheid era. Coming Home. By Athol Fugard; directed by Blanka Zizka. Through November 15, 2009 at Wilma Theater, 265 S. Broad St. (at Spruce). (15) 546-7824 or www.wilmatheater.org.
Sport and theater: Vive la difference	November 03 2009
Jim Rutter suggests that theater companies could boost their audiences as well as their relevance by integrating sport and drama. As Samuel Goldwyn famously put it, include me out.
InterAct’s ‘Chad Deity’	October 29 2009
Like the best professional wrestlers, the six male actors in Chad Deity are engaging fellows who understand how to beat each other up and make it look it real. But once that novelty wears off off, Chad Deity reverts to that old InterAct standby: didactic preaching to the audience. The Elaborate Entrance of Chad Deity. By Kristoffer Diaz; directed by Seth Rozin. InterAct Theatre Co. production through November 22, 2009 at Philadelphia Shakespeare Theatre, 2111 Sansom St. (215) 568-8079 or www.interacttheatre.org.
Obama’s Nobel	October 19 2009
Did Obama deserve his Nobel Prize? The more germane question, it seems to me, is: Why do we place such value on prizes, which after all are only popularity contests? Especially when something genuinely revolutionary is taking place in supposedly “decadent” Europe.
Modern dance: The agony and the agony	October 08 2009
Miscellaneous ruminations about the angst of modern dancers, the coyness of Inquirer film critic Carrie Rickey, and the convolutions of architecture critic Ada Louise Huxtable.
‘First Day of School’ by 1812 Productions	October 08 2009
What do parents do when they’ve packed the kids off to school? They fool around, yes, but Billy Aronson’s sophisticated sex farce never loses its grasp on reality, and a first-rate cast of comic actors expertly builds a sense of cumulative ridiculousness. The First Day of School. By Billy Aronson; Pete Pryor directed. Produced by 1812 Productions through October 25, 2009 at Plays and Players, 1724 Delancey Pl. (215) 592-9560 or www.1812productions.org.
Beckett’s ‘Happy Days’ by Lantern Theater (1st review)	October 02 2009
In Lantern’s production of Beckett’s Happy Days, the remarkable Mary Elizabeth Scallen somehow manages to demonstrate simultaneously both the importance and the irrelevance of words. But what words! Happy Days. By Samuel Beckett; directed by David O’Connor. Lantern Theater Co. production through October 18, 2009 at St. Stephen’s Theatre, 923 Ludlow St. (215) 829-0395 or www.lanterntheater.org.
Pisoni’s ‘Humor Abuse’ at PTC (1st review)	October 01 2009
To win the love of his clown father— as well as the audience— Lorenzo Pisoni drives his body through every pratfall in the standard clowning handbook. The result is exhausting. Humor Abuse. Created by Lorenzo Pisoni; directed by Erica Schmidt. Philadelphia Theatre Company production through October 25, 2009 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
‘Dirty Rotten Scoundrels’ at the Walnut (1st review)	September 18 2009
This musical comedy about a pair of con men on the Riviera is plagued by a fatal flaw that no amount of sprightly performances, witty lyrics, energetic music and lavish sets can camouflage: Its characters lack character. There is simply no one to root for or empathize with here. Dirty Rotten Scoundrels. Book by Jeffrey Lane; music and lyrics by David Yazbek; directed and choreographed by Richard Stafford. Through October 25, 2009 at Walnut Street Theatre. 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
Bill Sommerfield: Washington’s alter ego	September 15 2009
The impresarios Bill and Pam Sommerfield developed a new theatrical niche: Their performers weren’t merely historical actors; they were self-taught scholars who researched their characters so thoroughly that they became those characters. In the process they inspired future generations of Americans to pay more attention to the past, if only for the sheer fun of it.
‘Napoléon’ at the National Constitution Center	August 13 2009
Was Napoleón a great figure of history, a power-hungry tyrant, or just a model of pointless hyperactivity? The National Constitution Center facilitates the debate with some 300 artifacts, skillfully woven together to trace the rise and fall of an enigmatic figure whose contradictory qualities continue to both inspire and repulse us. “Napoléon.” Through September 7, 2009 at National Constitution Center, 525 Arch St. (215) 409-6600 or www.constitutioncenter.org/Napoleon.
Yet another police racial scandal	August 09 2009
If an esteemed black Harvard professor like Henry Louis Gates Jr. can be arrested for breaking into his own home, is any black American safe from police abuse? Apparently not, as a newly uncovered racial outrage in Washington, D.C., amply demonstrates.
What Sotomayor should have said	July 25 2009
The New York Times and many liberals wish Sonia Sotomayor had spoken out more forcefully at the Senate hearings on her nomination to the Supreme Court. But how does a nominee speak out forthrightly without jeopardizing her nomination? Perhaps I can offer some guidance.
When writers collide	July 14 2009
If my purpose in editing BSR is to educate myself, why am I turning for my musical education to a 20-something whippersnapper like Beeri Moalem when I could surround myself exclusively with elder sages who possess multiple degrees and years of life experience to boot?
PTC’s ‘Grey Gardens’ (1st review)	May 28 2009
In a decaying 28-room Easthampton mansion, surrounded by ghosts of their glittering past, a reclusive 80-year-old woman and her equally withdrawn 56-year-old daughter pass their days in bitter mutual recriminations. Everything about this production of Grey Gardens is first-rate, except for the one thing that really matters. Grey Gardens. Book by Doug Wright; music by Scott Frankel; lyrics by Michael Korie; directed By Lisa Peterson. Philadelphia Theatre Co. production through June 28, 2009 at Suzanne Roberts Theatre, Broad and Lombard Sts. (215) 985-0420 or philadelphiatheatrecompany.org.
‘The Producers’ at the Walnut	May 22 2009
In The Producers, Mel Brooks does to Nazi Germany what the Marx brothers did to Il Trovatore in A Night at the Opera. But Brooks violates the conventional rules of comedy with such glee that you can’t help laughing in spite of yourself. The opening number of the Walnut’s lavish current production is worth the price of admission alone. The Producers. Music and lyrics by Mel Brooks; book by Brooks and Thomas Meehan; directed and choreographed by Marc Robin. Through July 19, 2009 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
The 'Inquirer' and John Yoo	May 19 2009
The Inquirer says it needed to add a right-wing columnist “to counter criticism that our editorials and columns always lean left.” Benito Mussolini wasn't available. So whom else to hire but John Yoo, author of the Bush administration’s torture memos?
‘Forbidden Broadway’ at the Walnut’s Studio 3	May 19 2009
Forbidden Broadway’s Greatest Hits is a musical revue that abounds in faux-witty critiques of Broadway hit shows. The critiques hit their targets often; they’re just not very funny or entertaining. And the targets are so easy to hit. Forbidden Broadway’s Greatest Hits. By Gerard Alessandrini; directed by Bruce Lumpkin. Through June 28, 2009 at Walnut Street Theatre’s Independence Studio on 3, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
Campaign slogans for Arlen Specter	May 09 2009
In the evening of his life, Arlen Specter has boldly cut himself adrift from his moorings. Is this not a parable worthy of Hemingway or Shakespeare? Who will provide Specter with the rhetorical ballast he’ll surely need when he seeks re-election next year? I volunteer.
Further thoughts on ‘American Buffalo’	April 21 2009
Some critics contend that David Mamet's American Buffalo is above all a play about friendship and community. But what sort of community, exactly, are we talking about?
InterAct’s ‘Jihad Jones’	April 16 2009
A serious Arab actor gets a shot at fame and fortune; all he must do is perpetuate the worst possible Muslim terrorist stereotype. Yussef El Guindi has a fine idea for a 15-minute comedy skit, but its humor soon wears thin, especially given the play’s flimsy underlying premise. Jihad Jones and the Kalashnikov Babes. By Yussef El Guindi; directed by Seth Rozin. InterAct Theatre production through May 10, 2009 at The Adrienne, 2030 Sansom St. (215) 568-8079 or www.interacttheatre.org.
Theatre Exile’s ‘American Buffalo’ (2nd review)	April 15 2009
David Mamet is a master at capturing the euphemisms and rhetorical devices through which men rationalize and evade the cruelty of their words and deeds. But other writers handle this subject matter even better. American Buffalo. By David Mamet; directed by Matt Pfeiffer. Theater Exile production through May 3, 2009 at Plays & Players, 1714 Delancey St. (215) 218-4022 or www.theatreexile.org.
Leadership, Papadakis-style	April 13 2009
Drexel University’s late president Constantine Papadakis was walking evidence that a single determined individual can still make a big difference— as I discovered during my very first meeting with him.
Arden’s ‘A Year With Frog and Toad’	April 13 2009
After more than ten years’ absence from the Arden, it took a children’s show to get me there at last and make a believer out of me. What impressed me above all about A Year With Frog and Toad was the enthusiastic attention that the Arden crew paid to even the tiniest detail. A Year With Frog and Toad. Book and lyrics by Willie Reale; music by Robert Reale; directed by Whit MacLaughlin. Through April 19, 2009 at Arden Children’s Theatre, 40 N. Second St. (between Market and Arch). (215) 922-1122 or www.ardentheatre.org.
PTC’s ‘At Home At the Zoo’	March 27 2009
Fifty years ago Edward Albee’s The Zoo Story exposed the fragility of the defenses that so-called “civilized” postwar Americans thought they had constructed. In At Home at the Zoo, Albee offers a prequel that shines some new light on his characters but also raises more questions than it answers. In effect, Albee is guilty of superimposing a 21st-Century sensibility on a ’50s character. At Home at the Zoo (Home Life and Zoo Story). By Edward Albee; directed by Mary B. Robinson. Philadelphia Theatre Co. production through April 19, 2009 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
Itamar Moses on Dan Rottenberg's smokescreens	March 24 2009
In the latest round of BSR’s Hundred Years’ War between playwrights and critics, editor Dan Rottenberg engages in an e-mail colloquy with playwright Itamar Moses, who charges him with hiding behind rhetorical smokescreens.
‘Born Yesterday’ at the Walnut	March 23 2009
Billie Dawn, the heroine of Garson Kanin’s 1946 comedy Born Yesterday, is a “smart stupid person” whose faults are easily remedied by education. Today we face a tougher problem: “stupid smart people” who turn their millions over to avuncular swindlers like Bernie Madoff. Oh, for the good old days of transparent villains. Born Yesterday. By Garson Kanin; directed by Mark Clements. Through April 26, 2009 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or walnutstreettheatre.org.
When a communicator blames his audience	March 14 2009
Not many playwrights have the guts to declare, as Itamar Moses recently did, that critics are “fragile and infantile.” Unfortunately, in the process Moses also violated one of the first laws of professional communicators: “Never blame your audience.”
A colloquy: Playwrights and their critics	March 07 2009
In an exchange of e-mails, director/designer David O’Connor chastises Dan Rottenberg for heavy-handed editing and for his critics’ “unprofessional and inappropriate” behavior. Dan Rottenberg responds: Why should theater people monopolize the right to free expression and the right to be different?
‘Scorched’ at the Wilma	March 05 2009
In its best moments, Wajdi Mouawad’s often-brilliant meditation on the seemingly endless cycle of ethnic and civil warfare is a prime example of the Wilma Theater doing what the Wilma Theater does best. But Scorched is a work that appeals to the intellect rather than the emotions. Scorched. By Wajdi Mouawad; translated from the French by Linda Gaboriau; directed by Blanka Zizka. Through March 29, 2009 at Wilma Theater, 265 S. Broad St. (215) 546-7824 or www.wilmatheater.org.
‘Honor and the River’ at Walnut Studio 3	March 01 2009
There is still something to be said for a play about a teenager who’s strong enough to acknowledge his weaknesses and doesn’t give a fig about peer pressure. But Honor and the River takes much too long to develop, and its dramatic turning points struck me as contrived or silly. Honor and the River. By Anton Dudley; directed by Tom Reing. Through March 15, 2009 at Walnut Street Theatre Independence Studio 3, 825 Walnut St., 3rd floor. (215) 574-3550 or www.walnutstreettheatre.org.
‘Blackbird’ by Theatre Exile (1st review)	February 13 2009
We’ve barely scratched the surface of sexual exploitation of the young by their elders. All the more reason, then, to be grateful for the remarkable intelligence and sensitivity of David Harrower’s intense and unsettling Blackbird, which examines the aftermath of such an affair with superb performances by Pearce Bunting and Julianna Zinkel. Blackbird. By David Harrower; directed by Joe Canuso. Theatre Exile production through March 1, 2009 at Plays & Players, 1724 Delancey St. (215) 218-4022 or www.theatreexile.org.
Lantern Theater’s ‘Sizwe Bansi is Dead’ (1st review)	February 05 2009
The stories of two black men in apartheid South Africa, circa 1974, make for theater at its best, albeit in fragments. It’s sort of like watching the first act of two different plays— very good plays, to be sure. Sizwe Bansi is Dead. By Athol Fugard, John Kani and Wintson Ntshona; directed by Peter DeLaurier. Lantern Theater Co. production through March 1, 2009 at St. Stephen’s Theater, Tenth and Ludlow Sts. (215) 829-0395 or www.lanterntheater.org.
PTC’s ‘Resurrection’ (1st review)	January 30 2009
Daniel Beaty’s Resurrection rests on an original device: It seeks to examine the black male psyche through the stories of six individuals spaced at ten-year-intervals, from age 60 down to age ten. Unfortunately, all this talent and insight is wasted on a script that lacks any dramatic arc; it’s not so much a play as a succession of monologues. Resurrection. By Daniel Beaty; directed by Oz Scott. Philadelphia Theatre Co. production through February 22, 2009 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
‘The Rant’ at InterAct Theatre (1st review)	January 29 2009
The Rant is a first-rate production of an engrossing urban drama that never flags for 90 minutes. Unfortunately, it falls short of its purported goal: to offer a sophisticated portrayal of how the truth-and-justice system works in big cities. The Rant. By Andrew Case; directed by Seth Rozin. Interact Theatre Co. production through February 22, 2009 at Adrienne Theatre, 2030 Sansom St. (21) 568-8079 or www.interacttheatre.org.
‘O Captain, My Captain,’ at Walnut Studio 3	January 23 2009
Walt Whitman made a shrewd career move when he hitched his poetic wagon to Abraham Lincoln’s star. In O Captain, My Captain, Bill Van Horn hitches his wagon to both Lincoln and Whitman. It’s a gimmick, but we’re the better for it. O Captain, My Captain: Whitman’s Lincoln. Written and performed by Bill Van Horn; directed by Bruce Lumpkin. Through February 8, 2009 at Walnut Street Theatre Independence Studio on 3, 825 Walnut St. (215) 574-3555 or www.walnutstreettheatre.org.
Walnut’s ‘Streetcar Named Desire’ (1st review)	January 23 2009
Blanche DuBois and Stanley Kowalski have been going at it for more than 60 years now— and for good reason, as the Walnut’s riveting revival of A Streetcar Named Desire reminded me: Given the human capacity for self-delusion, few of us are likely to recognize ourselves in Blanche and Stanley— but we’ll surely recognize others we know. A Streetcar Named Desire. By Tennessee Williams; directed by Malcolm Black. Through March 1, 2009 at Walnut Street Theatre, 825 Walnut St. (215) 574-3555 or www.walnutstreettheatre.org.
Are theatrical readings necessary?	January 20 2009
Behind BSR’s recent controversy over critics who review theater readings lurks a more fundamental question: Why do theater companies hold readings and previews of unfinished works in the first place? And why haven’t other artists— like, say, Beethoven and Picasso— followed suit?
Free speech vs. creativity at the Wilma	January 13 2009
At the request of the Wilma Theater, Broad Street Review withdrew Jim Rutter’s commentary about the reading of a work-in-progress. Did we do the right thing? Does a theater’s need to control its creative product trump an audience’s right to free expression? The full three-way correspondence file, reprinted here, may shed some light on these issues.
Philadelphia Orchestra: The old vs. the new	January 13 2009
Was the old Ormandy Orchestra of blessed memory superior to today’s? The question is really irrelevant. I’ve found sublime experiences in both. Consider, for example, the contrast between William de Pasquale (old) and Yumi Kendall (new). Philadelphia Orchestra: Beethoven, Violin Concerto in D Major; Brahms, Symphony No. 4 in E Major; Webern, Im Sommerwind. Donald Runnicles, conductor; Christian Tetzlaff, violin. January 8-11, 2009 at Verizon Hall, Kimmel Center. (215) 893-1900 or www.philorch.org.
Blinking at Malcolm Gladwell’s tipping point	January 03 2009
What do Jesus, Lenin, Osama bin Laden and Martin Van Buren have in common? All somehow escaped the notice of the facile pop sociologist Malcolm Gladwell. Outliers: The Story of Success. By Malcolm Gladwell. Little, Brown & Co. 320 pages, $27.00. www.amazon.com.
Momentous local events since 1908	December 30 2008
Philadelphia Magazine celebrated its 100th birthday in December by picking the region’s 100 most momentous events since 1908. Who could argue with the magazine’s #1 choice: the invention of the cheese steak sandwich in 1930 (three places ahead of Penn’s invention of the computer in 1946)? But grouches may quibble with some other selections. Browse the magazine’s full list and then consult my list of crucial moments Philadelphia overlooked.
Chris Satullo at WHYY: Solution or problem?	December 23 2008
After 11 years at the helm of WHYY, Bill Marrazzo has finally hired someone to oversee the public broadcaster’s radio, TV and Internet news operations. Now for the bad news: The new position will be filled by the Inquirer’s former editorial page editor and columnist, Chris Satullo. What do Marrazzo and Satullo have in common? Both men think like social workers instead of broadcasters.
Postmodern art, postmodern finance?	December 14 2008
The New Yorker’s John Lanchester recently equated financial derivatives with postmodern art and literature. In today’s financial markets, Lanchester argued, “value” is as difficult to understand as “meaning” in literary deconstruction. It’s an intriguing analogy, but also a very shallow one.
Bill Marrazzo’s WHYY pay package	November 18 2008
Bill Marrazzo’s compensation as president of WHYY has been assailed by the Inquirer and Philadelphia Magazine alike. They say he makes more than anyone in public broadcasting while delivering much less. These quantitative comparisons, while valid, strike me as beside the point. It’s not Marrazzo’s compensation per se that alarms me, but his board’s fuzzy rhetorical contortions (as well as Marrazzo’s) in response to the furor.
Obama limericks	November 11 2008
Can a humorist spoof a black president's race without sounding racist? Let me take a crack at it.
McNally’s ‘Unusual Acts of Devotion’ (2nd review)	November 04 2008
Did Terrence McNally deliberately set out to write a play about shallow people? Or did he just write a shallow play? Either way, Unusual Acts of Devotion provides ample food for thought, even for someone like me who found it annoying as hell to sit through. Unusual Acts of Devotion. By Terrence McNally; directed by Leonard Foglia. Philadelphia Theatre Co. production through November 23, 2008 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). 215-985-0420 or www.philadelphiatheatrecompany.org.
Derivatives and the World Series	October 28 2008
What do Wall Street and the World Series have in common? Both require widespread suspension of disbelief in order to function effectively. And both collapsed this fall, raising several awkward questions, such as: Did the two teams playing in this year’s World Series really deserve to be there?
'This is the Week That is' by 1812	October 19 2008
This is the Week That Is hits its political targets often, but they’re such easy targets. Or do you still get your jollies from jokes about McCain’s age, Obama’s slickness or Palin’s vapidity? This Is the Week That Is. Conceived and directed by Jennifer Childs. Presented by 1812 Productions through November 2, 2008 at Plays and Players Theatre, 1724 Delancey Pl. (215) 592-9560 or www.1812productions.org.
Obama and the first debate	September 28 2008
McCain may have flunked a big test at the first debate, but Obama didn’t pass with flying colors either. The debate offered him an opportunity to demonstrate thoughtful and persuasive leadership, and to my mind he failed to seize it.
A few kind words for Gorbachev	September 16 2008
In a world of insecure and repressive dictators, Gorbachev was the remarkable exception: a man uncorrupted by power and seemingly unthreatened by truth or by the prospect of change. Liberty Medal Award presentation. September 18, 2008 at National Constitution Center, 525 Arch St. (215) 409-6600 or constitutioncenter.org/libertymedal.
Anger, Obama and Frank Zappa	August 23 2008
Is Frank Zappa a prophet? Is Barack Obama a disappointment? Is anger a useful tool? I have my doubts.
Beautiful women and natural law	August 12 2008
Will no man stand up to a beautiful woman? Do gorgeous women never suffer for their beauty? I’m happy to report from personal experience that the natural laws of compensation are alive and kicking.
China’s ‘culture of humiliation’	August 05 2008
The key to China’s hypersensitivity, argues the Asia scholar Orville Schell, lies in “the legacy of the country's ‘humiliation’ at the hands of foreigners.” But why are some peoples so much more obsessed with their humiliation than others who’ve suffered just as grievously?
'Shane' in the computer age	July 05 2008
The age of instant portable knowledge is clearly upon us. The implications for human conflict resolution are profound, especially in the arts. For example, how would the Western gunfighter Shane have dealt with adversity if he’d been armed with an iPhone?
Anne d’Harnoncourt’s secret	June 03 2008
Anne d’Harnoncourt moved comfortably between the glitzy world of arts patrons and the grungy world of working artists for one simple reason: She genuinely cared about art. And this artistic royal personage stayed in Philadelphia because she perceived something that others in the art business missed.
Orchestras and their 'comfort level'	May 27 2008
Today’s orchestras seek a comfort level between conductor and musicians. They could learn a lesson from Philadelphia Magazine’s late editor Alan Halpern, who ran a dysfunctional office that produced inspired writing.
‘Les Miserables’ at the Walnut (1st review)	May 25 2008
I cringed at the notion of seeing Victor Hugo’s idealistic saga strained through a Broadway musical meat grinder. To my surprise, Hugo’s vision comes across almost as powerfully on stage as it does in his novel. Maybe even more. Les Miserables. Music by Claude-Michel Schönberg; book by Alain Boublil and Jean-Marc Natel; lyrics by Herbert Kretzmer; directed by Mark Clements; based on Victor Hugo’s novel. Through August 3, 2008 at Walnut Street Theatre,
Hillary's final pitch to Pennsylvania	April 22 2008
When Hillary Clinton’s father quit his blue-collar roots in Scranton for the suburbs of Chicago, he left his heart in Pennsylvania— a risky decision, medically speaking. And you wondered why she's so obsessed with health care?
‘Suburban Love Songs’ by 1812 productions	April 15 2008
Karen Getz’s small gem of a pantomime dance-comedy tunes into a brilliant perception: Behind the political upheaval of the ‘60s lay a vast contingent of suburban singles bypassed by the sexual revolution. Suburban Love Songs. Created, choreographed and directed by Karen Getz. 1812 Productions presentation through April 27, 2008 at Plays and Players, 1724 Delancey St. (215) 592-9560 or 1812productions.org
Arts funding: Where I stand	March 29 2008
The critical test in public funding for the arts must be: Where is the money going? And if it’s going to me, I’m all for it.
Bill Buckley reconsidered	March 04 2008
The conservative icon Bill Buckley’s oeuvre was enormous, and also shallow. At each opportunity for personal growth in his life, Buckley instinctively opted for style over substance, for celebrity over scholarship, for brilliance over wisdom, and for rhetoric over philosophy.
Is cooking an art form?	February 23 2008
The food and wine writer Lynn Hoffman takes me to task for failing to grant his chosen field the same level of respect that Broad Street Review accords to the performing and visual arts. Who is this goofball gourmet to question my judgment?
‘The Price’ at the Walnut (2nd review)	February 02 2008
In the first act of The Price I found myself impatiently fidgeting and even dozing off at Miller’s familiar script devices. So why, then, did I find myself riveted and even choking back tears in the second act? The answer is surely personal, which is the essence of great theater. The Price. Drama by Arthur Miller; directed by Michael Carleton. Through March 2, 2008 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or PTC’s ‘M. Butterfly’		January 29 2008
In many respects this production of M. Butterfly is a feast for eye, ear and mind alike. But maybe it’s a little too much of a feast. All those visual and aural goodies tend to conceal the shortage of intellectual protein at its center. M. Butterfly. Drama by David Henry Hwang; directed by Joe Calarco. Philadelphia Theatre Co. production through February 24, 2008 at Suzanne Roberts Theatre, Broad and Lombard Sts. (215) 985-0420 or Freeloading critics		January 01 2008
Are critics freeloaders who cause actors to starve by displacing paying customers? That question begs a larger one: Why do people become performers or critics in the first place?
Cultural aptitude test	December 22 2007
Just in time for the holidays, here’s my present: an up-to-date cultural aptitude quiz that should delight true sophisticates while simultaneously weeding out the imposters who persist in visiting our website even though it’s obviously over their heads.
Wilma’s ‘Age of Arousal’ (3rd review)	December 15 2007
Only in an age when feminists feel secure can one safely kid around about feminism without seeming to be sexist or chauvinist. Linda Griffiths is fortunate to live in an age that offers such an opportunity, and so is her audience. Age of Arousal. By Linda Griffiths; directed by Blanka Zizka. Through January 6, 2008 at Wilma Theater, 265 S. Broad St. (215) 546-7824 or www.wilmatheater.org.
Is 'Bush hatred' irrational?	November 27 2007
Liberals’ irrational hatred of George W. Bush, complains a conservative professor, has “made rational discussion of politics in Washington all but impossible.” He’s right, of course, but he overlooks the critical question.
'Peter Pan' at the Walnut	November 17 2007
Peter Pan is largely irrelevant today, when adults have more fun than kids. And the Walnut Street Theatre’s revival of the 1954 musical adaptation makes no effort to pretend otherwise. Consequently there’s just one element missing from this otherwise enjoyable production: drama. Peter Pan. Music by Mark Charlap; lyrics by Carolyn Leish; based on the play by James M. Barrie. Through January 6, 2008 at Walnut Street Theatre, 825 Walnut St., (215) 574-3550
'Being Alive' at PTC (2nd review)	November 03 2007
As a thesis for a master’s degree in theater arts, Being Alive is downright brilliant. But as an evening of theater it’s excruciating to sit through. Being Alive. Musical conceived and directed by Billy Porter; music and lyrics by Stephen Sondheim. Philadelphia Theatre Co. production through December 2, 2007 at Suzanne Roberts Theatre, Broad and Lombard Sts. (215) 985-1400 or www.philad
An unintended benefit of 'Atlas Shrugged'	October 30 2007
Ayn Rand’s novel Atlas Shrugged has inspired two generations of business executives, not to mention Alan Greenspan and Hugh Hefner, with its message that “Greed is good.” But its greatest value may be unintentional: It inadvertently provides a vivid demonstration of the mind of the true believer— of left or right.
Barrymore Awards reconsidered	October 09 2007
Philadelphia’s Barrymore Awards, like all awards, are not works of art or substance. They’re a combination of popularity contest and promotional gimmick. Why is it the business of journalists or critics or the theaters’ paying customers to assist in this effort to manipulate us?
TV cameras at Verizon	October 02 2007
Two large screens hovering over the stage, providing close-up views of the performers, were unveiled at this fall’s Orchestra opening. That means no more watching the back of Eschenbach’s head! Just a few problems….
‘Amadeus’ at the Wilma	October 01 2007
The Wilma’s Amadeus is a compelling production of a stimulating work, one that provokes the mind while delighting the eye, the ear and the soul. But why does Peter Shaffer persist in tinkering with the script? In his place, what would Mozart do? Amadeus. By Peter Shaffer; directed by Jiri Zizka. Through October 27, 2007 at Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
The 'Inquirer's' killer bee	September 25 2007
The Inquirer’s CEO wants to place a giant inflatable bee on the newspaper's landmark building. What will this marketing wizard think of next? Consider the possibilities.
Dartmouth College trustee fight	September 18 2007
Dartmouth College alumni are up in arms because the college has diluted their power to elect the school’s trustees. But where is it written that a school is best managed by its alumni, as opposed to, say, educators?
Pavarotti and the magic of crowds	September 08 2007
Pavarotti was often derided as a rock star, as an athlete rather than an artist, as the man who brought mass culture to opera and vice versa. I remember him as a man who made a miracle. I witnessed it myself.
The media’s manufactured controversies	September 04 2007
A football upset, a restaurant's petty lawsuit against a dining critic— what do these contrived dramas share in common?
Eschenbach in limbo	August 28 2007
The Philadelphia Orchestra this year confronts the mother of all marketing challenges: How do you whip up enthusiasm for a music director who has already indicated he’d rather not be here?
The Orchestra’s conductor search process	August 07 2007
Some people may wonder if the Philadelphia Orchestra’s cold-blooded corporate search process can work. I’m happy to report that such a process has indeed worked superbly in at least one situation with which I’m intimately familiar.
The real Edith Piaf and ‘La Vie en Rose’	July 31 2007
The new film about Edith Piaf movingly captures the French singer’s personal traumas. But it’s silent about her response to her country’s national trauma: the German occupation during World War II. Did Piaf pass or fail this ultimate human test? La Vie en Rose. Film directed by Olivier Dahan, with Marion Cotillard. At the Ritz Five, 214 Walnut St. (215) 925-7900 or www.ritztheaters.com.
‘It’s a done deal!’	July 03 2007
Why debate moving the Barnes Foundation? It’s a done deal! But so were slavery, segregation and the Soviet Union, once upon a time.
‘Carousel’ at the Walnut (2nd review)	May 26 2007
The most relevant aspect of Carousel seems to have been deliberately removed from this production. It makes you wonder whether the folks at the Walnut understand what this show is all about. Carousel. Music by Richard Rodgers; book and lyrics by Oscar Hammerstein II. Directed by Bruce Lumpkin; musical direction by Douglass Lutz. Through July 15, 2007 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.wstonline.org.
A few words about critics	May 19 2007
Contrary to what some readers believe, I pay our music critics to tell me what they think of concerts and musicians, not what everybody else thinks. And please don’t worry about scaring off Eschenbach: He’s a big boy who’s been through a lot worse than bad reviews.
A few words about critics	May 19 2007
Contrary to what some readers believe, I pay our music critics to tell me what they think of concerts and musicians, not what everybody else thinks. If they merely reflect the general consensus, what value do they bring to the table (other than that of a mirror)? And please don’t worry about scaring off Eschenbach: He’s a big boy who’s been through a lot worse than bad reviews.
‘Orson’s Shadow’ at PTC (second review)	May 12 2007
The fate of the planet— or even the characters’ careers or their personal lives— doesn’t exactly hang in the balance in Orson’s Shadow. But Austin Pendleton’s worshipful script refuses to confront this inconvenient truth as he plunges us yet again into another exercise in actors acting as actors obsessed with acting. Orson’s Shadow. By Austin Pendleton; James J. Christy directed. Philadelphia Theatre Co. production th
The 'Gayborhood,' past and present	May 05 2007
Philadelphia's City Council recently designated a 12-block piece of Center City as Philadelphia's "Gayborhood." As someone whose own people enjoyed a similar experience some time ago in Central Europe, I can assure the Gayborhood's residents that, starting now, they are in for exciting and stimulating times.
Sponsored news at the ‘Inquirer’	April 28 2007
The Inquirer's new publisher, Brian Tierney, recently implemented a couple of innovations that struck him as fresh and creative but were actually discarded by news organizations back in the Stone Age of journalism, for reasons that (let us hope) will soon become apparent to Tierney.
‘The Dishwashers’ at Walnut Street Theatre	April 21 2007
Up to the intermission, The Dishwashers works on two levels: as a comedy about life in the nether regions of a fancy restaurant, and as an allegory about growing up and growing old. The play’s problems develop in its overlong and repetitious second act. The Dishwashers. By Morris Panych; directed by Bill Van Horn. Through May 6, 2007 at Walnut Street Theatre’s Studio 3, 825 Walnut St. (215) 574-3550 or InterAct's 'When Something Wonderful Ends'		April 12 2007
Playwright Sherry Kramer wants to dramatize the dangers of Americans’ addiction to Middle Eastern oil. But this is not a drama; it’s a one-woman lecture, and not a very sophisticated one at that. When Something Wonderful Ends. By Sherry Kramer; directed by Tom Moore. Presented by InterAct Theatre Co. through May 6, 2007 at Adrienne Theater, 2030 Sansom, St. (215) 568-8079 or What to do about Don Imus		April 10 2007
I’ve never listened to the offensive talk-radio host Don Imus. I have no plans to listen to him. But what right does anyone have to tell me I can’t listen to him?
Five key questions for mayoral candidates	April 03 2007
Philadelphia’s mayoral primaries will soon be upon us, and you know what that means: “Citizens’ Voices,” a quadrennial feature on the Inquirer’s op-ed page in which ordinary Philadelphians pose questions to the candidates. But if real Philadelphians didn’t have earnest Inquirer editorial writers peering over their shoulders, what questions would they really ask?
To save our precious cultural heritage	March 10 2007
Philadelphians saved The Gross Clinic, only to lose The Cello Player in the bargain. So how will we rescue The Cello Player? A glimpse into the future.
Gershwin’s unrealized potential	February 27 2007
The Opera Company’s recent uncut production of the original Porgy and Bess reminds us that George Gershwin’s death was a far greater tragedy than we realize.
‘Enemies’ at the Wilma (first review)	February 17 2007
Singer’s novel offered a rare glimpse into the psyches of Holocaust survivors he knew in New York. From his book, Schulman has produced an intelligent and compelling script that creates original and engaging characters without sentimentalizing them. Enemies, A Love Story. By Sarah Schulman, from the novel by Isaac Bashevis Singer; directed by Jiri Zizka. Through March 11, 2007 at Wilma Theater, Broad and Spruce Sts. (215) 893-9345 or Lantern Theater’s ‘La Ronde’		February 12 2007
Director McMahon and the Lantern Theater crew deserve much credit for re-examining Schnitzler’s Viennese sexual daisy chain, and for taking his work as seriously as they do. But ultimately their experiment fails. La Ronde probably worked better as a concept you can think about than as a play you must actually watch. La Ronde. By Arthur Schnitzler; directed and translated by Charles McMahon. Presented by Lantern Theater Company through February 25, 2007 at St.
How to spend $68 million	February 03 2007
What would an artist do with $68 million? Well, what would a banker do with immortality?
‘Nerds’ at PTC (first review)	February 03 2007
Boil this material down to ten minutes and you have a cute skit for Saturday Night Live. Stretch it out to two hours and you have torture worthy of Abu Ghraib. Nerds: A Musical Software Satire. Book and lyrics by Jordan Allen-Dutton; Music by Hal Goldberg. Directed by Philip William McKinley; choreographed by Joey McKneely. Philadelphia Theatre Co. production through February 25, 2007 at Plays & Players, 1714 Delancey St. (215) 985-0420 or
Walnut’s ‘Of Mice and Men’ (1st review)	January 28 2007
Is this 1937 work still relevant for affluent audiences that never lived through the Depression, if they’ve even heard of it? Oh my, yes. Of Mice and Men. By John Steinbeck; Mark Clements directed. Through March 4, 2007 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.wstonline.org.
A few more words about booing	January 16 2007
If classical audiences were more demonstrative, maybe the performers would be too, and other thoughts about booing and cheering at concerts. Plus: What the New York Philharmonic can teach Philadelphia (maybe) about filling seats.
Lantern’s ‘The Great Divorce’	December 29 2008
Anthony Lawton’s one-man, one-act adaptation of C.S. Lewis’s vision of the afterlife is as intelligent and provoking an evening as I’ve spent at the theater in a long time; it’s often devastatingly funny as well. The Great Divorce. By Anthony Lawton, adapted from the novel by C.S. Lewis. Lantern Theater Co. production through January 4, 2009 at St. Stephen’s Theater, Tenth and Ludlow Sts. (215) 829-9002 or 'Chicago' at the Merriam		December 29 2006
Chicago the musical is very much like Chicago the city: From the start, it grabs you by the throat. But after ten minutes or so, you might as well be watching a gymnastics class with a sound track. Chicago. Book by Fred Ebb and Bob Fosse; music by John Kander; Lyrics by Ebb; directed by Walter Bobbie. Through December 31, 2006 at Merriam Theater, 250 S. Broad St. www.broadwayacrossamerica.com/Philadelphia
Wilma's 'My Children! My Africa!'	December 17 2006
Fans of Athol Fugard will find themselves on familiar ground here— a bit too familiar, for my taste. The problem with My Children! My Africa! lies not with the actors, who are uniformly excellent, but with Fugard’s script, which tends to get in their way and ultimately retraces old ground. My Children! My Africa! By Athol Fugard; directed by Blanka Zizka. Through January 7, 2007 at Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or Dissent about the Lantern’s ‘QED’		November 27 2006
Our critic Jim Rutter notwithstanding, Peter Parnell’s QED is indeed dramatic, even if the drama takes place entirely within the protagonist’s head. Transferring that drama from paper to stage is no mean feat. QED. By Peter Parnell, directed by Kathryn Nocero. Lantern Theater Co. production through December 3, 2006, at St. Stephen’s Theater, Tenth and Ludlow Sts. (215) 829-9002 or www.lanterntheater.org.
‘42nd Street’ at the Walnut (1st review)	November 16 2006
42nd Street at the Walnut is a marriage made in heaven: a rare case of a large theater company choosing a compatible vehicle and lavishing its huge resources wisely. You don’t laugh out loud too often, but it’s a stubborn curmudgeon indeed who won’t have a smile on his face throughout this production. 42nd Street. Music by Harry Warren; lyrics by Al Dubin; book by Michael Stewart and Mark Bramble. Directed by Charles Abbott; choreographed by
Opera Company's 'Cinderella' (1st review)	November 14 2006
The Opera Company has updated Rossini’s 1817 farce to the 1950s, with multi-screen pop-art images that should appeal to all those 21st-Century multi-taskers in the audience. The problem is that most of the farcical elements are pointless. The production is redeemed not by its gimmicks but by the sonorous tenor voice of Lawrence Brownlee as Prince Ramiro. Cinderella. Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Comp
OCP's 'La Bohème'	October 29 2006
OCP has settled into a groove of predictably pleasant productions: If they don’t blow you away, neither do they go up in flames. And what could be more realistic than an opera about sruggling artists performed by struggling artists? La Bohème. By Giacomo Puccini; directed by Robert Driver. Opera Company of Philadelphia production through Nov. 11, 2006 at Academy of Music, Broad and Locust Sts. (215) 893-3600 or www.operaphi
InterAct’s ‘Kiss of the Spider Woman’	October 26 2006
After a generation of multi-media treatment, Puig’s two revolutionary cellmates are no longer all that revolutionary. Which means that what was once the inspiring experience of sharing their enlightened company has now become stale and hackneyed. Kiss of the Spider Woman. By Manuel Puig, with a translation by Allan Baker; directed by Seth Rozin. InterAct Theatre Co. production through November 19, 2006 at Adrienne Theatre,, 2030 Sansom St. (215) 568-8079 or Wilma’s ‘The Pillowman’ (second review)		October 20 2006
Martin McDonagh’s macabre comedy-drama is no predictably Kafkaesque tale of a repressive state destroying an innocent individual. It’s more of an inquiry into the creative and destructive power of words. There’s ample food for thought in this provocative work, and McDonagh’s genius here lies in his ability make profound and heavy issues entertaining and even funny. The Pillowman. By Martin McDonagh; directed by Jiri Zizka. Through November 5, 2006,&n
Lantern's 'Master Harold...'	September 21 2006
South African apartheid is dead, but this indictment of racial repression is as relevant and involving as ever in Lantern's powerful, in-your-face production. "Master Harold"…and the boys. By Athol Fugard; Lantern Theater Co. production directed by David O’Connor. Through Oct. 15, 2006, at St. Stephen’s Theater, Ninth and Ludlow. (215) 829-9002 or www.lanterntheater.org.
PTC’s 'Murderers’	October 12 2006
On paper, Jeffrey Hatcher’s notion of unlikely killers in a gated senior community sounds like fine material for a relevant social comedy. But Murderers is all talk and no action; it’s a series of three separate monologues whose characters and stories never intersect. Murderers. By Jeffrey Hatcher; directed by Michael Bush for Philadelphia Theatre Co. Through Nov. 5, 2006, at Plays & Players, 1714 Delancey St. (215) 985-0420 or Walnut Street Theatre's 'Windy City'		September 15 2006
Why revive The Front Page as a musical in 2006? Good question. The result is a formulaic show that offers the trappings of a blockbuster Broadway musical without the necessary central core of a dramatic story or involving characters Windy City. Book and lyrics by Dick Vosburgh; music by Tony Macaulay; directed and choreographed by Marc Robin. Through Oct. 22, 2006 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.wsto
Julia Child, Ben Franklin and us	August 28 2006
French culture is above all about savoring the roses; American culture is above all about growth and productivity. But it wasn’t always that way, nor must it continue that way.
Melissa Hayden's real name; chain restaurants	August 12 2006
The late ballerina Melissa Hayden’s career didn’t take off until she discarded her dowdy birth name. What is the lesson here? Also, what can Center City do about the plague of chain restaurants inundating our performing arts district?
The Inquirer's new owner and his opinions	August 07 2006
Bruce Toll, the Inquirer's new chairman, says he'll exercise his owner's prerogative to express his opinions on the editorial page. But the critical question, which Toll ignores, is: Why would he want to undermine his property’s most valuable asset?
My problem with Denyce Graves	August 01 2006
The celebrated mezzo-soprano lacks the magnetic star quality that seizes an audience by the throat, as she demonstrated yet again in a guest appearance with the Philadelphia Orchestra at the Mann Music Center. Denyce Graves with the Philadelphia Orchestra. At Mann Music Center, July 19, 2006. www.philorch.org.
'Best of Philly' at the Constitution Center	July 27 2006
What was the National Constitution Center thinking when it hosted a panel discussion (July 26) on “Behind the Scenes at ‘Best of Philly’ ”?
The trouble with gay theater	July 13 2006
Thanks in part to a profusion of brilliant gay playwrights, the straight world’s Age of Ignorance about the gays and lesbians among us is rapidly drawing to a close. That’s good news for civilized society but bad news for gay playwrights themselves, since gay-on-gay relationships are inherently less dramatic than the eternally mysterious dance between men and women.
The new Inquirer demonstrates its independence	July 05 2006
Now that the Inquirer is owned by Philadelphia’s establishment, how will it convince skeptics of its independence from Philadelphia’s establishment? Nine story ideas that should silence cynics once and for all.
The Inquirer's new owners	May 29 2006
The Inquirer and Daily News have been acquired by a syndicate of local business executives and civic boosters. Is this really cause for celebration, as the two newspapers and their new owners would have us believe? Does anyone recall the Inquirer’s disgrace under its last local civic booster owner, and its triumph under out-of-towners?
McNally's 'Some Men' at PTC	May 18 2006
Almost everything about this exuberant/poignant salute to the gay survivors of the repressed old closeted days is first-rate, and Terrence McNally’s script is by turns entertaining, funny and incisive as far as it goes. Unfortunately it does not go very far, because McNally is mostly preaching to the choir here. Some Men. By Terrence McNally; directed by Philip Himberg. World premiere presented through June 11, 2006 by Philadelphia Theatre Co. at Plays & Players,&
Rocky on the Parkway, again	May 15 2006
Sylvester Stallone wants a statue of himself near the Art Museum, even though it isn't art. The city, caving in to an apparent populist groundswell, has granted his wish. Next question: Can you donate a statue of yourself, too?
Walnut's 'Natural History'	April 28 2006
Jennifer Camp’s script provides a few very funny moments and a few poignant ones, and three actors demonstrate their versatility, but much of the territory here seems like familiar ground. Natural History. By Jennifer Camp; directed by Thom Sesma. Through May 7, 2006, at Walnut Street Theatre’s Studio 3, 825 Walnut St., (215) 574-3550 or www.wstonline.org.
InterAct's 'Reinventing Eden'	April 27 2006
Despite some flaws, Seth Rozin’s nuanced and even-handed look at the ethical conflicts of a driven geneticist succeeds at dramatizing abstract intellectual issues, compelling his audience to confront the miracle of existence and the ambiguities of tampering with our genetic structure. Reinventing Eden. By Seth Rozin, directed by Harriet Power. Presented by InterAct Theatre Co. through May 7, 2006, at Adrienne Theatre, 2030 Sansom St. (215) 568-8077 or Culture, the suburbs and the Orchestra		April 18 2006
Dan Rottenberg replies briefly to (a) Patrick Hazard's take on top-down culture, (b) a suburbanite's lament about traveling to the Ritz, and (c) Dan Coren's concern about the high cost of the Philadelphia Orchestra.
Andrea Mitchell re-invents her past	April 17 2006
NBC's Andrea Mitchell is one of the toughest reporters in TV news. But her recent memoir provides a textbook example of why TV journalists shouldn't write books. Most disturbing, she overlooks two intriguing chapters of her early career in Philadelphia, perhaps because they conflict with her current status as the glamorous wife of the ultimate Washington power icon. Talking Back…To Presidents, Dictators and Assorted Scoundrels. By Andrea Mitchell. Viking. 414 pages.
On beating up Victorians	May 08 2006
It's fun to spoof hypocritical Victorians, as Caryl Churchill does in Cloud 9. But where would she be without them? Plus: Follow-up about Andrea Mitchell's Talking Back.
PTC's 'Intimate Apparel'	March 23 2006
This compelling but also wrenching drama introduces us to people who’ve been rendered largely anonymous by history, enabling us to empathize with the bad choices that people make when they feel desperate. Intimate Apparel. By Lynn Nottage; Philadelphia Theatre Co. production directed by Tim Vasen. Through April 16 at Plays & Players, 1714 Delancey St., (215) 569-9700 or www.phillytheatreco.com.
Ingenuity worthy of Franklin	March 22 2006
The ultimate Franklin exhibit lets you experience the not-so-good old days of the 18th Century, and even provides some hints as to how we can improve on the 21st. "Benjamin Franklin: In Search of a Better World." Exhibit through April 30, 2006 at the National Constitution Center, 525 Arch St., 215-6600 or www.constitutioncenter.org.
Anna Moffo's unique appeal	March 18 2006
The soprano Anna Moffo, who died March 10 at the age of 73, was no dynamo on an opera stage. But that was precisely the secret of her appeal.
The Complete Works of Shakespeare	March 09 2006
This energetic, sophomoric slapstick parody of Shakespeare offers a few inspired moments within its succession of heavy-handed gags. High school students who’ve been force-fed the Bard will probably love this show, and may even learn something from it. The Complete Works of William Shakespeare (Abridged). By Adam Long, Daniel Singer and Jess Winfield; directed by Domenick Scudera. Through May 19 at Philadelphia Shakespeare Festival, 2111 Sansom St., 215-496-8001 or A plague of one-man shows		February 24 2006
Let us not kid ourselves. A one-man play is a convenient vehicle for control freaks. And it's a godsend for producers who want to hold their costs down. But it's no substitute for genuine drama.
Jonathan Biss at the Perelman	March 01 2006
Nature may have endowed Jonathan Biss with huge hands and good looks, but what came across above all was his genuine feeling for the music. Jonathan Biss, pianist: Works by Beethoven, Spratlan, Schoenberg and Schumann. Presented by Philadelphia Chamber Music Society at Perelman Theater, Verizon Hall, Feb. 28, 2006. www.pcmsconcerts.org.
Lantern's Novecento	February 02 2006
Dramatic script, dramatic performance— but is it a drama? Novecento. One-man dramatic monologue by Alessandro Baricco, directed by Dugald MacArthur. Presented through Feb. 26, 2006 by Lantern Theater at St. Stephen’s Theater, Tenth and Ludlow Sts., (215) 829-9002 or www.lanterntheater.org.
Searching for Joe Kluger's successor	February 06 2006
The Orchestra's next president must seize the public's imagination, not to mention his own musicians'. Plus four other pieces of unconventional wisdom about the state of orchestras and their boards.
The Pew Foundation's quandary	March 01 2004
Can a giant bureaucracy help the arts? This column originally appeared in Philadelphia Style magazine, March 2004.
The Devil and Albert Barnes	January 01 2003
Who could possibly object to moving this awesome collection downtown? Just one slight problem.... This column originally appeared in Philadelphia Style magazine, January 2003.
Guide to Philadelphia theater troupes	November 01 2004
A quick, subjective guide to Philadelphia's leading theater companies. This column originally appeared in Philadelphia Style magazine, November 2004.
InterAct's American Sublime	February 01 2006
In a 19th-Century painting, Patricia Lynch finds clues to America's war on terror. American Sublime. By Patricia Lynch; directed by Seth Rozin for InterAct Theatre Co. through Feb. 19. Adrienne Theatre, 2030 Sansom, St., (215) 568-8077. www.InterActTheatre.org.
'The West Wing's' final season	January 24 2006
Our exclusive preview of the farewell episodes of America's favorite surrogate Presidential TV program.
In search of Robert Driver's voice	May 01 2003
Can the Opera Company’s boss attract the same loyalty from critics that he already receives from singers and paying customers? (This column originally appeared in Philadelphia Style magazine, May 2003).
Bookstore revolution	November 01 2003
How a battle royal among two big chains and a little neighborhood shop revived Center City’s nighttime street life. This column originally appeared in Philadelphia Style magazine, November 2003.
PTC's After Ashley	February 15 2006
A compelling, original and often very funny work about personal tragedy, mass media exploitation, and the large consequences of minor acts. After Ashley. By Gina Gionfriddo, directed by Pam McKinnon. Philadelphia Theatre Co. production through through March 5, 2006, at Plays & Players, 1714 Delancey St., 215-985-0420. www.phillytheatreco.com.
Wilma's Nine Parts of Desire	February 15 2006
The diversity of Iraqis and their mutual anger are captured in portrayals of nine women by a single talented actress in an evening that would make George W. Bush uncomfortable, not to mention this reviewer. Nine Parts of Desire. By Heather Raffo; directed by Kate Saxon; with Jacqueline Antaramian. Through March 12, 2006, at Wilma Theater, 265 S. Broad (at Spruce), 215-546-7824. www.wilmatheater.org.
Alan Halpern: Stealth revolutionary	January 09 2006
Alan Halpern, editor of Philadelphia Magazine from 1951 to 1980 and father of the modern city magazine, died December 13th at age 79.
Munich: Good idea, bad film	January 09 2006
Munich. A film directed by Stephen Spielberg. Screenplay by Tony Kushner and Eric Roth. At the Ritz Five.
Why this new website? Why in Philadelphia? Why	January 05 2006
A few words from the editor about the birth of Broad Street Review
Nancy Leach Sweeten's unique journey	December 19 2005
She never achieved tenure at Penn, yet she exemplified what a great university is about.
Bob Scott's greatest contribution	December 19 2005
One man with courage makes a majority— especially if he understands his community.
A Masked Ball, or a march of singing penguins	January 01 2006
A Masked Ball, by Giuseppe Verdi, directed by Robert Driver. Opera Company of Philadelphia production at Academy of Music, Oct. 23-Nov. 6.
PTC's Franklin Unplugged	January 12 2006
In a profound and funny tour de force, a neurotic Jewish standup comic discovers his “inner Franklin.”
Macao: Spice without food	January 01 2006
Film noir has been dead for 50 years. Why spoof it now? Adrift in Macao. Book and lyrics by Christopher Durang; music by Peter Melnick; directed by Sheryl Kaller. World premiere through Nov. 20, 2005, at Philadelphia Theatre Co., Plays & Players, 1714 Delancey. 215-985-0420 or www.phillytheatreco.com.
Guide to free arts attractions	July 01 2003
A quick guide to culture that doesn’t cost a cent. This column originally appeared in Philadelphia Style magazine, July 2002.