Steve Cohen ()

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Steve Cohen () studied music, theater and communications at Temple University and became a writer and producer for public radio and TV. Many of his programs aired locally on WHYY, including two that won the national Armstrong Award for excellence in FM broadcasting. Fifteen years ago he was asked to write a column about the arts for the Jewish Voice, which led to further print assignments for the Philadelphia Forum, Philadelphia City Paper, Jewish Exponent and Inside Magazine. Steve also is a regular contributor to TotalTheater and to the website theoperacritic.com.

 
More articles by Steve Cohen, newest first

Verdi’s ‘Macbeth’ in Wilmington	May 18 2013
With Macbeth, Verdi wasn’t merely adapting a great work of literature; he was nudging history forward in real time. Macbeth. Opera by Giuseppe Verdi; Giovanni Reggioli conducted; Cindy Du Pont Tobias directed. Opera Delaware production May 5-11, 2013 at The Grand, 818 N. Market St., Wilmington, Del. (800) 374-7263 or www.operade.org.
Bruce Graham’s ‘North of the Boulevard’	May 11 2013
Bruce Graham has written so many plays that it may be appropriate to describe his work as facile. But his last two works provide credible characters wrestling with difficult decisions. North of the Boulevard. By Bruce Graham; Matt Pfeiffer directed. Theatre Exile production through May 19, 2013 at Studio X, 1340 South 13th St. (at Reed). (215) 218-4022 or www.theatreexile.org.
Mary Sue Welsh’s ‘One Woman in a Hundred’	May 05 2013
Edna Phillips was the first female principal player in any major symphony orchestra. She worshipped Stokowski (who hired her) and despised Ormandy (who made passes at her). One Woman in a Hundred: Edna Phillips and the Philadelphia Orchestra. By Mary Sue Welsh. University of Illinois Press, 2013. 288 pages; $35. www.amazon.com. Marcel Tabuteau: How Do You Expect to Play the Oboe If You Can't Peel a Mushroom? By Laila Storch. University of Indiana Press, 2008. 595 pages plus audio CD; $42. www.amazon.com.
Verdi’s ‘Masked Ball,’ by AVA	May 04 2013
A Masked Ball often gets lost in the crowd from Verdi’s prolific middle period. The Academy of Vocal Arts production turned it into one of my most exciting evenings of music drama in recent years. Un Ballo in Maschera (A Masked Ball). Opera by Giuseppe Verdi; Tito Capobianco directed; Christofer Macatsoris conducted. Academy of Vocal Arts productions May 4, 2013, at Helen Corning Warden Theater, 1920 Spruce St.; May 8, 2013 at Centennial Hall, Haverford School, 450 Lancaster Ave., Haverford; and May 11, 2013 at Central Bucks South High School, Warrington, Pa. (215) 735-1685 or www.avaopera.org.
Rufus Wainwright at Verizon Hall	April 30 2013
Like many gay men, Rufus Wainwright relates to the struggles of Judy Garland and Maria Callas, but conveying angst isn’t his strong suit. “Prima! Rufus! Judy!” Including excerpts from Prima Donna, an opera by Rufus Wainwright; and Rufus Does Judy, with Rufus Wainwright, singer. April 21, 2013 at Verizon Hall. Kimmel Center, Broad and Spruce Sts., as part of the Philadelphia International Festival of the Arts. (215) 790-5800 or www.kimmelcenter.org.
‘South Pacific’ revival in Wilmington	April 27 2013
South Pacific’s mix of wartime action, drama, comedy and song still works. The current Delaware production is quite moving. But who today would think of a sexy 44-year-old man as "old"? South Pacific. Music by Richard Rodgers; book and lyrics by Oscar Hammerstein II and Joshua Logan; Bud Martin directed. Through May 5, 2013 at Delaware Theatre Company, 200 Water St., Wilmington, Del. (302) 594-1100 or www.delawaretheatre.org.
Opera Philadelphia’s ‘Magic Flute’ (2nd review)	April 27 2013
If Mozart hadn’t died two months after its 1791 premiere, his inconsistent and interminable Magic Flute might well have been remembered as a sideshow on the composer’s path to greater achievements. The Magic Flute. Opera by W.A. Mozart; Ashlie Corcoran directed; Corrado Rovaris, conductor. Opera Philadelphia production through April 28, 2013 at the Academy of Music, Broad and Locust Sts. (215) 893-1018 or www.operaphila.org.
Oscar Wilde’s ‘Salome’ at Villanova (1st review)	April 20 2013
Oscar Wilde’s Salome is a play critics love to hate, but those disparagements can now be dismissed. Villanova University has revealed Wilde’s play for the mesmerizing theater that it is. Salome. By Oscar Wilde. Premiere of a new translation by Joseph Donohue; David Cregan directed. Through April 21, 2013 at Villanova Theatre, Vasey Hall, 800 E. Lancaster Avenue, Villanova, Pa. (610) 519-4500 or www.theatre.villanova.edu. Salome: A Tragedy in One Act. By Oscar Wilde; translated from the French by Joseph Donohue. University of Virginia Press, 2011. 108 pages; $24.95.www.amazon.com.
Verdi’s ‘I Lombardi’ in concert in NY	April 13 2013
Verdi’s much-neglected I Lombardi has much to offer in the way of innovative music and vivid scenes. A concert version featuring the superb voices of Angela Meade and Michael Fabiano may help rescue it from its undeserved obscurity. I Lombardi. Opera by Giuseppe Verdi; Eve Queler conducted the Opera Orchestra of New York and New York Choral Society. April 8, 2013, at Avery Fisher Hall, Lincoln Center, Broadway and 65th St., New York. (212) 906-9137 or www.operaorchestrany.org.
Roosevelt’s Hyde Park hideaway	April 12 2013
Imagine my surprise upon finding that FDR’s hideaway— where the president hosted the British royal couple in 1939— shared much in common with my own middle-class childhood Philadelphia home. Hyde Park on Hudson. A film directed by Roger Michell. Home of Franklin D. Roosevelt National Historic Site. Route 9 in Hyde Park, New York (about 85 miles north of New York City). (845) 229-9115 or www.nps.gov/hofr.
Bach’s Passions, two ways (3rd review)	April 09 2013
Until a few decades ago, audiences who weren’t German were not cognizant of the words in Bach’s Passions. Now, with projected translations, audience members notice, and some of them are disturbed— and rightly so. Vox Ama Deus: Bach, The Passion According to St. John. Megan Monaghan, soprano; Jody Kidwell, alto; Kenneth Garner, tenor; Kevin Deas, Richard Shapp and Ed Bara, basses; Philadelphia Boy’s Choir. Valentin Radu, conductor. March 29, 2013 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. (610) 688-2800 or www.VoxAmaDeus.org. Philadelphia Orchestra: Bach, The Passion According to St. Matthew. Malin Christensson, soprano; Karen Cargill, mezzo-soprano; Andrew Staples, tenor; Andrew Foster-Williams, Luca Pisaroni, bass-baritones; The Westminster Symphonic Choir; American Boychoir. Yannick Nézet-Séguin, conductor. March 28-30, 2013 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.philorch.org.
‘Old Jews Telling Jokes’ in New York	April 02 2013
This revue tries to rekindle old memories for new generations of Jews and non-Jews alike. It’s raunchier than anything I saw on "Ed Sullivan." But the passage of time imposes a kind of censorship all its own. Old Jews Telling Jokes. Created by Peter Gethers and Daniel Okrent; Marc Bruni directed. At Westside Theatre, 407 West 43rd St, New York. (800) 901-4092 or www.oldjewstellingjokesonstage.com and oldjewstellingjokes.com.
‘Breakfast at Tiffany’s’ on Broadway	March 30 2013
The new stage adaptation of Breakfast at Tiffany’s is blessed with an appealing story, an evocative setting and an exceptional narrator. Too bad its inimitable heroine is missing in action. Breakfast At Tiffany's. Adapted by Richard Greenberg from the novella by Truman Capote; Sean Mathias directed. At Cort Theatre, 138 West 48th St., New York. (212) 239-622 or www.breakfastattiffanysonbroadway.com.
‘Owen Wingrave’ by Opera Philadelphia and Curtis	March 26 2013
Benjamin Britten’s rarely performed opera about a pacifist in wartime deserves greater exposure— and more explicit supertitles. Owen Wingrave. Opera by Benjamin Britten; George Manahan conducted; Daniel Fish directed. Co-production of Opera Philadelphia and Curtis Opera Theatre. March 13-17, 2013 at Perelman Theater, Kimmel Center, Broad & Spruce Sts. (215) 893-1018 or www.operaphila.org.
Philadelphia Orchestra’s percussion virtuoso	March 26 2013
Percussionist Colin Currie starred in a noisy and outrageous performance that discomfited some folks in the Philadelphia Orchestra’s audience, just the way Leopold Stokowski’s innovations used to do. Philadelphia Orchestra: Wagner, "Entrance of the Gods Into Valhalla" from Das Rheingold; Rouse, Der gerettete Alberich ("Alberich Saved"); Tchaikovsky, Symphony No. 5. Colin Currie, percussionist; Andrey Boreyko, conductor. March 21-23, 2013 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or philorch.org.
Massenet’s ‘Don Quichotte’ by AVA	March 22 2013
Don Quichotte was conceived for Feodor Chaliapin, who possessed a large, deep and expressive bass voice, but Massenet’s music asks for understatement and subtlety. Maybe that’s why it’s so rarely performed. The AVA got the casting right. Don Quichotte. Opera by Jules Massenet; Tito Capobianco directed; Christofer Macatsoris conducted. Academy of Vocal Arts production March 2-14, 2013 at Helen Corning Warden Theater, 1920 Spruce St., and Centennial Hall, Haverford School, 450 Lancaster Ave., Haverford. (215) 735-1685 or avaopera.com.
‘Under the Whaleback’ at the Wilma	March 19 2013
The impact of individuals on later generations lies at the heart of Richard Bean’s Under the Whaleback, a gripping look at a quaint foreign culture, full of foreboding and culminating in painful violence. Under The Whaleback. By Richard Bean; Blanka Zizka directed. Through April 7, 2013 at the Wilma Theater, 213 S. Broad St. (215) 546-7824 or www.wilmatheater.org.
Orson Welles’s ‘Moby Dick Rehearsed’	March 12 2013
Can a whale and an ocean be captured on stage? Iron Age Theatre made wondrously creative use of a small theater space and expanded its horizons to represent an endless sea. But this production cries out for filming or televising. Moby Dick Rehearsed. By Orson Welles; John Doyle and Randall Wise directed. Iron Age Theatre production through March 24, 2013 at Centre Theater, 208 DeKalb St., Norristown, Pa. (610) 279-1013 or www.ironagetheatre.org.
Wagner’s ‘Parsifal’ at the Met	March 10 2013
Wagner’s Parsifal may lack much in the way of a story or singable tunes, but the new Metropolitan Opera production exquisitely captures the spirit of holy Christian reverence that lies at its heart. Parsifal. Opera with words and music by Richard Wagner; Francois Girard directed; Daniele Gatti conducted. Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. HD Encore in movie theaters nationwide March 20, 2013. www.metoperafamily.org or www.fathomevents.com.
‘New Worlds’ at the Art Museum (2nd review)	March 09 2013
The Art Museum’s rich new exhibition of colonial art from Catholic South America spotlights an area that’s been neglected by most museums, and grievously overlooked by collectors. “Journey to New Worlds: Spanish and Portuguese Colonial Art from the Roberta and Richard Huber Collection.” Through May 19, 2013 at Philadelphia Museum of Art, Benjamin Franklin Pkwy. and 26th St. (215) 763-8100 or www.philamuseum.org.
Philadelphia Orchestra’s ‘Rite of Spring’ (1st review)	February 23 2013
What are Bach, Ravel and Stravinsky doing together on the same program? Old Philadelphia Orchestra devotees know the answer. And so, apparently, does the Orchestra’s new music director, Yannick Nézet-Séguin. Philadelphia Orchestra: Bach-Stokowski, Passacaglia and Fugue in C minor; Ravel, Piano Concerto in G major; Stravinsky, Le Sacre du Printemps ("The Rite of Spring"). Jean-Yves Thibaudet, piano. Yannick Nézet-Séguin, conductor; Ridge Theater Company dancers; Dan Safer, choreography. February 23-24, 2013; also March 2, 2013 (without theatrical element) at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893.1999 or www.philorch.org.
Opera Philadelphia’s ‘Silent Night’ (1st review)	February 16 2013
Kevin Puts’s Silent Night is based on a remarkable true incident during the first Christmas Eve of World War I, when enemy soldiers in adjoining trenches spontaneously agreed to a brief truce, in defiance of their commanding officers. It‘s the kind of compelling story that’s too often missing from today’s operas. Silent Night. Opera by Kevin Puts; libretto by Mark Campbell; Eric Simonson directed; Michael Christie, conductor. Opera Philadelphia production through February 17, 2013 at Academy of Music, Broad and Locust Sts. (15) 732-8400 or operaphila.org.
Orchestra’s ‘Carmina Burana’	February 16 2013
Rafael Frühbeck de Burgos looks frail these days, and older than his 79 years, but he conducted Carmina Burana from memory in a gorgeously persuasive interpretation. Philadelphia Orchestra: Haydn, Symphony No. 1 in D major; Hummel, Concerto for Trumpet and Orchestra in E major; Orff, Carmina Burana. David Bilger, trumpet; Erin Morely, soprano; Nicholas Phan, tenor; Hugh Russell, baritone; Philadelphia Singers Chorale; American Boychoir; Rafael Frühbeck de Burgos, conductor. February 15-16, 2013 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893.1999 or www.philorch.org.
Schulner’s ‘Infinite Ache’ at Theatre Horizon	February 09 2013
David Schulner’s An Infinite Ache speeds us through the lives of a man and woman from their first date to their old age in 90 minutes. An Infinite Ache. By David Schulner; Megan Nicole O’Brien directed. Through February 17, 2013 at Theatre Horizon, 401 DeKalb St., Norristown, Pa. (610) 283-2230 or theatrehorizon.org.
‘The Winter’s Tale’ at People’s Light	February 05 2013
The Winter’s Tale is surely one of Shakespeare’s messiest and least satisfying scripts, notwithstanding People’s Light’s energetic efforts to distract our attention from its failings. The Winter's Tale. By William Shakespeare; Guy Hollands directed. Through March 3, 2013 at People's Light and Theatre Company, 39 Conestoga Rd., Malvern, Pa. (610) 644-3500 or www.PeoplesLight.org.
Oscar Wilde’s ‘Ideal Husband’ at the Walnut (2nd review)	February 02 2013
Some critics consider Oscar Wilde’s An Ideal Husband a lightweight play. On the contrary, it’s a deceptively eloquent plea for individual expression in the face of Victorian conformity. An Ideal Husband. By Oscar Wilde; Malcolm Black directed. Through March 3, 2013 at the Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
McDonagh’s ‘Beauty Queen of Leenane’ at the Lantern (2nd review)	January 28 2013
Martin McDonagh is best known for the escalating violence of his dramas. So I arrived at a new appreciation for the intimacy and sad sweetness of this domestic tale, his first work. The Beauty Queen of Leenane. By Martin McDonagh; Kathryn MacMillan directed. Lantern Theater production through February 10, 2013 at St. Stephen’s Theater, 923 Ludlow St. (215) 829-0395 or www.lanterntheater.org.
Yannick's new take on Bruckner	January 28 2013
Never have I heard Bruckner sound so Austrian as he did last weekend under Yannick’s baton— not Classical, not Wagnerian, but relaxed in an Austrian way. Philadelphia Orchestra: Wagner: Siegfried Idyll; Bruckner, Symphony No. 7 in E major. Yannick Nézet-Séguin, conductor. January 24-25, 2013 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893.1999 or www.philorch.org.
Beckett’s ‘Endgame’ at the Arden (1st review)	January 26 2013
Kevin Depinet’s set prompts a fresh look at a Beckett classic. It’s a specific illustration of the end of a world as we knew it; but it’s not quite the end of civilization, as Endgame has been interpreted in the past. Endgame. By Samuel Beckett; Edward Sobel directed. Through March 10, 2013 at the Arden Theatre’s Arcadia Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
Orchestra’s ‘inter-war’ concert (2nd review)	January 22 2013
Yannick Nézet-Séguin is only 37, with no conscious memory of Stalin or Hitler. Yet he instinctively grasped the emotions of composers who suffered under those tyrants. Philadelphia Orchestra: Ravel, La Valse; Szymanowski, Violin Concerto # 2, Op. 61 (with soloist Leonidas Kavakos); Dmitri Shostakovich, Symphony No. 5, Op. 47. Yannick Nézet-Séguin, conductor. Jan. 14-17, 2013 at Verizon Hall, Kimmel Center, Broad and Spruce Sts., and Carnegie Hall, New York. (215) 893.1999 or www.philorch.org.
Pilobolus Dance Theater at Annenberg (2nd review)	January 22 2013
Pilobolus almost begs its audiences not to take it seriously. Yet there’s no denying that the group combines real dance talent with athletic panache. Pilobolus Dance Theater. January 17-20, 2013 at Annenberg Center, 3680 Walnut St. (215) 898-3900 or www.annenbergcenter.org.
‘Catch Me If You Can’ on national tour	January 19 2013
Some musicals about con men succeed (think The Music Man); others, like this one, fail— because complex scams aren’t easily explained in songs competing with a blaring orchestra. Catch Me If You Can. Music by Marc Shaiman; lyrics by Shaiman and Scott Wittman; book by Terrence McNally; Jack O’Brien and Matt Lenz directed. Through January 20, 2013, at the Academy of Music, Broad & Locust St. (215) 731-3333 or www.kimmelcenter.org.
A mammoth ‘Les Troyens’ at the Met	January 12 2013
Les Troyens is a mammoth work that’s rarely staged, for understandable reasons. The new Met production defied the range of one fine tenor, but a little-known replacement came to the rescue. Les Troyens. Opera with libretto and music by Hector Berlioz; Fabio Luisi conducted. Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. HD Encore in movie theaters nationwide, January 23, 2013. www.metoperafamily.org or www.fathomevents.com.
Leslye Headland’s ‘Assistance’ at the Wilma	January 12 2013
Working for a tyrannical boss is no fun. Neither is Leslye Headland’s tired attempt to wring comedy from the situation. Assistance. By Leslye Headland; David Kennedy directed. Through February 3, 2013 at the Wilma Theater, Broad and Spruce Sts. (215) 546-7824 or wilmatheater.org.
‘Les Misérables’: Stage vs. screen	January 08 2013
The new film version of Les Misérables reminds us of what the classic stage musical mostly forgets: that the theme of Victor Hugo’s novel is poverty and suffering. Les Misérables. Music by Claude-Michel Schönberg; lyrics by Herbert Kretzmer, from the original French text by Alain Boublil and Jean-Marc Natel; additional material by James Fenton; directed by Laurence Connor and James Powell. Through January 13, 2013 at Academy of Music, Broad and Locust St. (215) 731-3333 or www.kimmelcenter.org. Les Misérables. A film directed by Tom Hooper. For Philadelphia area show times, click here.
The winning ‘Messiah’: Vox Ama Deus	January 04 2013
I heard four Messiahs during the recent holiday season. Three were respectably devout; only one was exciting. Vox Ama Deus focused on artistic concerns; three other major orchestras seemed preoccupied with cutting their overtime costs. Messiah. By Georg Frederick Handel. Vox Ama Deus orchestra and chorus; Valentin Radu, conductor. Through December 16, 2012 at six locations, including St. Katherine of Siena Church, Wayne, Pa. (610) 688-2800 or www.VoxAmaDeus.org. Messiah. By Georg Frederick Handel. Philadelphia Orchestra and Philadelphia Singers Chorale; Paul Goodwin, conductor. December 23, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-19999 or www.philorch.org.
‘Winter Wonderettes’ at Norristown	December 29 2012
The 11th Hour Theatre Company's holiday-season show got me thinking: How come virtually all secular Christmas songs have been written by Jews? Winter Wonderettes. Concept and book by Roger Bean; Megan Nicole O’Brien directed. 11th Hour Theatre Company production through December 30, 2012, at Theatre Horizon, 401 DeKalb St., Norristown, Pa. (267) 987-9865 or www.11thHourTheatreCompany.org.
‘Jekyll and Hyde’ at the Forrest	December 29 2012
Robert Louis Stevenson's original Dr. Jekyll and Mr. Hyde introduced the concept of schizophrenia without providing much plot or motivation. That deficiency has been remedied by an inventive musical that offers a soaring, hummable score, to boot. Jekyll and Hyde. Music by Frank Wildhorn; book and lyrics by Leslie Bricusse; co-conceived by Steve Cuden; Jeff Calhoun directed. Through December 30, 2012 at the Forrest Theatre, 1114 Walnut St. (800) 430-8903 or www.jekyllandhydemusical.com. For a video preview, click here.
Verdi’s ‘Aida’ at the Met	December 18 2012
At last, a Metropolitan Opera production that finds critics and audiences in agreement. Aida. Opera by Giuseppe Verdi; Fabio Luisi conducted. Through December 28, 2012 at Metropolitan Opera, Lincoln Center, New York. HD Encore in U.S. movie theaters, January 16, 2013. Canada Encore: Saturday, February 23, 2013. www.metoperafamily.org or www.fathomevents.com.
Orchestra plays Wagner (without the words)	December 16 2012
You might argue that Wagner without words is stupid, since most of his music was written to support opera librettos. But there’s something to be said for hearing Wagner performed by a large orchestra, fully exposed in front of the audience. Philadelphia Orchestra: Beethoven, Piano Concerto No. 1; Wagner, Orchestral Highlights from The Ring. Lars Vogt, piano; Donald Runnicles, conductor. November 29-December 1, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-19999 or www.philorch.org.
Verdi’s ‘Masked Ball’ at the Met	December 11 2012
Most critics greeted the Met’s new production of A Masked Ball with praise for the singing and catcalls for the production. I’d put it the other way around. A Masked Ball. Opera by Giuseppe Verdi; David Alden directed; Fabio Luisi conducted. Through December 14, 2012 at Metropolitan Opera, Lincoln Center, New York. HD Encore in movie theaters, January 9, 2013. www.metoperafamily.org or www.fathomevents.com.
Teachout's ‘Satchmo at the Waldorf’	December 09 2012
The Louis Armstrong I met in 1953 was healthy, energetic and genial; the dying Satchmo we meet in Terry Teachout’s one-man play is exhausted and bitter. The contrast is instructive. Satchmo at the Waldorf. By Terry Teachout; Gordon Edelstein directed. Shakespeare & Company/Long Wharf Theatre Production closed December 2, 2012 at the Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
AVA’s suburban ‘Barber of Seville’	November 25 2012
Like everything else in life, opera in the suburbs can be quite different from opera downtown. And sometimes it’s even better. The Barber of Seville. Opera by Gioachino Rossini; Richard Raub conducted; Marc Verzatt directed for the Academy of Vocal Arts. November 13 & 15, 2012 at Centennial Hall, Haverford School, 450 Lancaster Ave., Haverford, Pa.; and November 17, 2012 at Central Bucks South High School, 1100 Folly Road, Warrington, Pa. (215) 735-1685 or www.avaopera.org.
National Theatre's ‘War Horse’ at Academy of Music	November 25 2012
This anti-war manifesto reminds us that it takes brilliant technicians to create puppet horses for the stage, and brilliant technology to destroy real animals and people as well. War Horse. Adapted by Nick Stafford from the novel by Michael Morpurgo; Marianne Elliott and Tom Morris directed. National Theatre of Great Britain production through December 2, 2012 at Academy of Music, Broad and Locust St. (215) 893-1999 or www.kimmelcenter.org.
Spanish songs by Lyric Fest (2nd review)	November 20 2012
Four artists from the Academy of Vocal Arts sang an all-Spanish program. Given all the talk about America’s growing Latin population, it’s about time. Lyric Fest: “A Tu Corazon, To Your Heart.” Songs from Spain and Latin America by Falla, Piazzolla et al. Maria Aleida, soprano; Carla Dirlikov, mezzo-soprano; Diego Silva, tenor; Luis Ledesma, baritone; Laura Ward, piano. Suzanne DuPlantis, Randi Marrazzo, Laura Ward, artistic directors. November 18, 2012 at Academy of Vocal Arts, 1920 Spruce St. (215) 438-1702 or www.lyricfest.org.
Orchestra plays ‘Alexander Nevsky’ (3rd review)	November 20 2012
The wedding of a live orchestra with the film of Alexander Nevsky may be fascinating, but Prokofiev’s music really conveys more power when it stands alone, uninterrupted by long pauses for dialogue, sound effects and silent scenes. Philadelphia Orchestra: Prokofiev, Alexander Nevsky. Film directed by Sergei Eisenstein; Michelle DeYoung, mezzo-soprano; Stéphane Denève, conductor; Philadelphia Singers Chorale, David Hayes, music director. November 15-17, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.philorch.org.
‘The Music Man’ at the Walnut	November 18 2012
In retrospect, Meredith Willson’s corn-fed Music Man has aged better than Leonard Bernstein’s pseudo-realistic West Side Story. There’s something to be said for unabashed fairy tales. The Music Man. Book, music and lyrics by Meredith Willson; Marc Robin directed and choreographed. Through January 6, 2013 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.WalnutStreetTheatre.org.
Theatre Exile’s ‘The English Bride’	November 17 2012
Lucile Lichtblau’s fascinating psychodrama deliberately keeps the audience in the dark about the motives and pressures of terrorists, spies and victims. The play’s perceptive point is that all of us tell lies— most often to ourselves. The English Bride. By Lucile Lichtblau; Deborah Block directed. Theatre Exile production through December 2, 2012 at Studio X, 1340 S. 13th St. (at Reed). (215) 218-4022 or www.theatreexile.org.
‘The Tempest’ at the Met in New York	November 13 2012
Shakespeare’s psychologically-driven The Tempest isn’t an ideal choice for the musical stage to begin with. The creators of this opera compounded the problem with a libretto that’s an insult to the Bard’s poetic language. The Tempest. Opera by Thomas Adès; libretto by Meredith Oakes, after the Shakespeare play; Robert Lepage directed; Adès conducted. Through November 17, 2012 at the Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. Cinema encore November 28, 2012. www.metoperafamily.org.
Carson Kreitzer’s 'Behind the Eye’ (2nd review)	November 11 2012
Carson Kreitzer’s Behind the Eye is less about the fascinating model-photographer Lee Miller and more about the celebrities she latched onto. Behind the Eye. By Carson Kreitzer; Lisa Jo Epstein directed. Gas & Electric Arts production through November 18, 2012 at Philadelphia Shakespeare Theater, 2111 Sansom St. www.GasAndElectricarts.org.
AVA’s ‘Barber of Seville’ (1st review)	November 08 2012
Rossini’s major operatic innovation was the expansion of brass in his orchestra and the writing of loud orchestral sections in his stage works. Those notions were honored in the Academy of Vocal Arts’ season opener, an extroverted performance of Rossini’s Barber of Seville. The Barber of Seville. Opera by Gioachino Rossini; Richard Raub conducted; Marc Verzatt directed for the Academy of Vocal Arts. Through November 17, 20121 at Helen Corning Warden Theater, 1920 Spruce St. Also November 13 & 15 at Centennial Hall, Haverford School, 450 Lancaster Ave., Haverford, Pa.; and November 17 at Central Bucks South High School, 1100 Folly Road, Warrington, Pa. (215) 735-1685 or www.avaopera.org.
‘Pretty Fire’ at Horizon in Norristown	November 06 2012
Norristown, once almost exclusively white, is today mostly African-American. Horizon’s attractive new theater there has pitched its first production there to the new realities of the local audience. Pretty Fire, By Charlayne Woodard; James Ijames directed. Through November 18, 2012 at Theatre Horizon, 401 DeKalb St., Norristown, Pa. (610) 283-2230 or www.theatrehorizon.org.
‘Freud’s Last Session’ at the Arden (1st review)	November 03 2012
When the Christian polemicist C.S. Lewis meets Sigmund Freud— who considered God an illusion— whom do you root for? Mark St. Germain’s imagined meeting between two brilliant men crackles with the conflict of ideas and emotions and blessedly leaves us to decide where our sympathies lie. Freud’s Last Session. By Mark St. Germain; Ian Merrill Peakes directed. Through December 23, 2012 at the Arden Theater’s Arcadia Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
PTC’s ‘Stars of David’ at the Suzanne Roberts (1st review)	October 25 2012
Having grown up ambivalently Jewish, Abigail Pogrebin embarked on an intriguing project: to interview famous Jews about their Jewishness. The new musical based on her book is equally intriguing. Stars of David. Script by Charles Busch, from the book by Abigail Pogrebin; Gordon Greenberg directed. Philadelphia Theatre Co. production through November 18, 2012 at Suzanne Robert Theatre, 480 St. Broad St. (at Lombard). (251) 985-0420 or www.philadelphiatheatrecompany.org.
Philadelphia Orchestra’s Verdi ‘Requiem’ (2nd review)	October 23 2012
Yannick Nézet-Séguin approached Verdi’s Requiem much as Eugene Ormandy once did: revealing the warm sound of the Philadelphia Orchestra, accommodating his quartet of famous singers and paying close attention to the libretto’s intimate thoughts about death. Philadelphia Orchestra: Verdi, Requiem. Marina Poplavskaya, soprano; Christine Rice, mezzo-soprano; Rollando Villazón, tenor; Mikhail Petrenko, bass; Westminster Symphonic Choir (Joe Miller, director); Yannick Nézet-Séguin, conductor. October 19-21, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.philorch.org.
Graham’s ‘Outgoing Tide’ in Wilmington	October 23 2012
In Delaware Theatre Company’s incarnation, nothing has changed in Bruce Graham’s script about a man with Alzheimer’s, but the direction and acting interpretations revealed the story in a new light. The Outgoing Tide. By Bruce Graham; Bud Martin directed. Through October 28, 2012 at Delaware Theatre Company, 200 Water St., Wilmington, Del. (302) 594-1100 or www.delawaretheatre.org/play1.
‘Drumline Live’ at the Merriam	October 21 2012
The spectacular Drumline Live celebrates the type of pumped-up band music played at historically black, mostly Southern colleges. It’s dazzling stuff, but to judge from the audience at the Merriam, it’s mostly preaching to the choir. Drumline Live. Created and directed by Don P. Roberts. October 17-18, 2012 at Merriam Theater, 250 S. Broad St. (north of Spruce). (215) 731-3333 or www.merriam-theater.com and www.drumlinelive.com.
‘Gutenberg! The Musical’ at Ambler	October 20 2012
Gutenberg! The Musical! is a parody of simpletons trying to create a Broadway show in total ignorance of its subject. What next— a parody of retarded children? Gutenberg! The Musical! By Scott Brown and Anthony King; Tom Quinn directed. Co-production by Act II Playhouse and Montgomery Theater, through November 4, 2011 at Act II Playhouse, 56 E. Butler Avenue, Ambler, Pa. (215) 654-0200 or www.act2.org.
‘This Is the Week That Is,’ by 1812 Productions (2nd review)	October 09 2012
Jon Stewart and Steven Colbert may be the kings of political satire, but there’s no substitute for a live revue that involves the audience— especially when the troupe in question hits its target more often than, say, “Saturday Night Live.” This Is The Week That Is. Written and directed by Jennifer Childs, Don Montrey and 1812 Productions troupe. Through November 4, 2012 at Plays and Players Theatre, 1724 Delancey Pl. (215) 592-9560 or www.1812productions.org.
EgoPo’s ‘Jesse James’	October 07 2012
From dime novels, folk songs and contemporary newspaper stories about Jesse James and his gang, EgoPo has ingeniously cobbled together the sort of vaudeville show that would have pandered to the bank robber’s devotees after his murder in 1882. The Assassination of Jesse James. Directed by Brenna Geffers. EgoPo Classic Theater production through October 28, 2012 at Plays & Players Theater, 1714 Delancey Pl., third floor (not wheelchair accessible). (267) 273-1414 or www.egopo.org.
‘Next to Normal’ at the Arden (1st review)	October 06 2012
Unlike the Broadway musical, which looked and sounded like a rock concert, Terrence Nolen’s Arden production brings out the quiet yet deep emotions of a family dealing with illness and loss. Next to Normal. Book and lyrics by Brian Yorkey. Music by Tom Kitt. Terrence J. Nolen directed. Through November 4, 2012 at the Arden Theater’s F. Otto Haas Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
Opera Company’s ‘La Bohème’	October 02 2012
When computer programs bring Impressionist paintings to life, an old chestnut like La Bohème becomes a whole new experience without sacrificing its setting or story. La Bohème. Opera by Giacomo Puccini; Davide Livermore directed; Corrado Rovaris, conductor. Opera Company of Philadelphia production through October 7, 2012 at Academy of Music, Broad and Locusts Sts. (215) 893-5900 or www.operaphilly.com.
A Yom Kippur question for Spinoza	October 02 2012
On Yom Kippur, I couldn’t help wondering: How did Spinoza feel about being barred from the observation of this day, the most holy in the Jewish calendar?
Idiopathic’s ‘Ivona’ at the Fringe Festival	September 30 2012
With Ivona, Witold Gombrowicz courageously lampooned the pretentiousness of Poland’s upper class just before the Nazis took over. Ivona, Princess of Burgundia. By Witold Gombrowicz; Tina Brock directed. Idiopathic Ridiculopathy Consortium production September 5-23, 2012 at Walnut Street Theatre’s Studio 5, 825 Walnut St. (215) 285-0472 or www.idiopathicridiculopathyconsortium.org.
Shipwrecks and Homer at the Art Museum (2nd review)	September 25 2012
Tragedy at sea was a subject of emotional involvement from the time of the ancient Greeks. The fascination was strongest during Winslow Homer’s time, when all intercontinental journeys involved crossing deep, dark and potentially fatal oceans. “Shipwreck! Winslow Homer and The Life Line.” Through December 31, 2012 at Philadelphia Museum of Art, Perelman Building, Exhibition Gallery, Benj. Franklin Pkwy at 26th St. (215) 763-8100 or www.philamuseum.org.
‘Next to Normal’ in Pottstown	September 25 2012
This musical about a family coping with bipolar disorder won a Pulitzer on Broadway, but it takes on added meaning when seen in the intimacy of a 90-seat loft theatre. Next to Normal. Music by Tom Kitt; book and lyrics by Brian Yorkey; Kevin Laibson directed. Closed September 23, 2012 at Newberry Loft, Steel River Playhouse, 245 E. High Street, Pottstown, Pa. (610) 970-1199 or www.steelriver.org. Also coming to the Arden Theatre in Philadelphia, September 27-November 4, 2012.
‘Rent’ Sing-along at Bryn Mawr	September 23 2012
Combining a Rent Sing-Along with La Bohème is a good idea. Combining it with Angels in America would be downright inspired. Rent Sing-Along. September 11 and November 20, 2012 at Bryn Mawr Film Institute, 824 W Lancaster Ave., Bryn Mawr, Pa. www.brynmawrfilm.org/interact/singalong.php
‘Angels in America’ at the Wilma	September 21 2012
AIDS was such a serious business when Angels opened 20 years ago that Tony Kushner’s humor often escaped his audiences. Blanka Zizka’s excellent Wilma cast lets us laugh without guilt. Angels in America. A Gay Fantasia on National Themes. Part II: “Perestroika.” By Tony Kushner; Blanka Zizka directed. Through October 21, 2012 at Wilma Theater, 265 South Broad St. (215) 546-7824 or Www.wilmatheater.org. (Paired with performances of Part One on selected dates.)
Perry Como, forgotten man	September 09 2012
Perry Como was America’s Number One pop vocalist for more than a decade, but his fame never impressed him. His hometown has moved on as well, as I discovered on a recent visit.
‘The Rotation’: Baseball’s ups and downs	August 25 2012
In my youth, Philadelphia baseball fans took losing for granted, so we found other attractions in the game. Today they take winning for granted— a dangerous delusion, as we’ve seen this year. The Rotation: A Season with the Phillies and the Greatest Pitching Staff Ever Assembled. By Jim Salisbury and Todd Zolecki. Running Press, 2012. $15. www.perseusbooksgroup.com.
‘Singin’ in the Rain’ turns 60	August 24 2012
What’s so special about Singin’ in the Rain? No one perceived this musical comedy about the dawn of talking pictures as a classic when it opened in 1952. Two things explain why its popularity continues to grow, 60 year after its premiere. Singin' in the Rain: 60th anniversary presentation. Gene Kelly and Stanley Donen co-directed. Screened in movie theaters nationwide August 22, 2012 and available on DVD and Blu-Ray. m.fathomevents.com.
‘Porgy and Bess’ on Broadway	August 18 2012
Tinker with Gershwin’s Porgy and Bess? Why not? Producers have been doing it for 75 years, beginning with the composer himself. The Gershwins’ Porgy and Bess. Music by George Gershwin; lyrics by Ira Gershwin; book by DuBose and Dorothy Heyward; musical book adapted by Suzan-Lori Parks; Diane Paulus directed. Through September 23, 2012 at the Richard Rodgers Theatre, 226 West 46th St., New York. (800) 745-3000 or www.ticketmaster.com.
‘Bring It On: The Musical,’ on Broadway	August 11 2012
This new musical about competition between high school cheerleading squads contains many similarities to the Olympics and turns out to be more entertaining. Bring It On: The Musical. Book by Jeff Whitty; music by Tom Kitt and Lin-Manuel Miranda; lyrics by Amanda Green and Mr. Miranda; directed and choreographed by Andy Blankenbuehler. Through January 20, 2013 at St. James Theater, 246 West 44th St., New York. (212) 239-6200 or www.bringitonmusical.com.
‘Visions of Arcadia’: Now for the catalogue	August 04 2012
Few people who flock to a major art show buy the catalogue, and even fewer read it. That’s their loss. The Art Museum’s catalogue for “Visions of Arcadia,” for example, ventures far beyond the works and artists on display, and in much greater depth. Gauguin, Cézanne, Matisse: Visions of Arcadia. Edited by Joseph J. Rishel, with essays by Stephanie D’Alessandro, Charles Dempsey, Tanja Pirsig-Marshall, Rishel and George T. M. Shackelford. Yale University Press, 2012. 243 pages. $38. (215) 684-7960 or www.philamuseum.org/stores.
Met’s ‘Tales of Hoffman’ in HD-Live (3 years later)	July 31 2012
Seeing the Met's 2009 Tales of Hoffman, I’m struck by the exceptional changes that three years have wrought. Since then, James Levine is gone, Anna Netrebko has declined, and other companies have done more justice to Offenbach's work. The Tales of Hoffman. Opera by Jacques Offenbach. HD version screened in NCM Fathom theaters worldwide on July 16, 2012, as recorded at the Metropolitan Opera on December 19, 2009. www.ncm.com/ncm-fathom.
Atzilut: Jews and Arabs at Bryn Mawr	July 28 2012
How to prevent Jews and Arabs from fighting? Get them to start singing. Atzilut and The Wayne Rangers. July 21, 2012 at Bryn Mawr Gazebo, 9 S. Bryn Mawr Ave., Bryn Mawr, Pa. (866) 468-7619 or www.brynmawrtwilightconcerts.com.
The Rodin Museum, restored	July 15 2012
After an exceptional three-year restoration, the largest collection of Rodin sculpture and drawings outside of Paris is once again on display as its collector intended. Rodin Museum. Benjamin Franklin Parkway at 22nd St. (215) 568-6026 or www.rodinmuseum.org.
‘Once’: A musical about nothing, on Broadway	July 07 2012
Other critics have praised the Broadway musical Once for its love story, its great songs and its compelling characters— all elements that I found lacking. Once. At the Bernard Jacobs Theatre, 242 W. 45th St., New York. (800) 432-7250 or www.oncemusical.com.
Rachmaninoff’s ‘Aleko’ by Russian Opera Workshop	July 03 2012
No major American company in this country has ever produced Rachmaninoff’s unfortunately neglected Aleko. Ghenady Meirson’s Russian Opera Workshop offered a taste of what we’ve missed. Aleko. Opera by Sergei Rachmaninoff; Ghenady Meirson, artistic director and pianist. Russian Opera Workshop production June 26-28, 2012 at Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St. Russianoperaworkshop.com.
‘Visions of Arcadia’ at the Art Museum (2nd review)	June 30 2012
Why would three of the most radical artists of their time turn to Arcadia as the subject for their largest and most ambitious paintings? “Visions of Arcadia: Gauguin, Cézanne, Matisse”: Through September 3, 2012 at Philadelphia Museum of Art, Benjamin Franklin Pkwy. & 26th St. (215) 763-8100 or www.philamuseum.org.
Yannick’s homage to Stokowski (2nd review)	June 26 2012
At last weekend’s Stokowski’s celebration, the performances justified the palpable excitement. Yannick Nézet-Séguin has set the bar for the Philadelphia Orchestra very high indeed. Philadelphia Orchestra: Stokowski Celebration. Yannick Nézet-Séguin, conductor. June 21-24, 2012 at Academy of Music, Broad and Locust Sts. (215) 893-1999 or www.philorch.org.
Stokowski's forgotten Youth Concerts	June 19 2012
Leopold Stokowski may have terrorized his musicians, audiences and board members, but he forged a genuine connection with teenagers that the Philadelphia Orchestra hasn’t achieved since his departure. Philadelphia Orchestra: Stokowski Centennial Celebration concerts. Works by Bach, Brahms, Dukas, Dvorak, Rimsky-Korsakov, Stravinsky, Wagner and more. Yannick Nézet-Séguin, conductor. June 21-23, 2012, at Academy of Music, Broad and Locust St. (215) 893-1999 or www.philorch.org.
Muhly’s ‘Dark Sisters’ by the Opera Company	June 18 2012
Dark Sisters, a new opera based on a 1953 federal raid on polygamists, briefly raises a tantalizing issue but fails to explore it. Dark Sisters. Music by Nico Muhly; libretto by Stephen Karam; Neal Goren conducted; Rebecca Taichman directed. Co-production of Opera Company of Philadelphia, Gotham Chamber Opera and Music-Theatre Group closed June 17, 2012 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. (215) 732-8400 or www.operaphila.org.
Michael Ching’s ‘Slaying the Dragon’	June 17 2012
Michael Ching’s Slaying the Dragon, based on the true story of a friendship between a Ku Klux Klansman and a rabbi, generates plenty of good feelings. But it lacks the essential ingredient in opera: dramatic conflict. Slaying the Dragon. Music by Michael Ching; libretto by Ellen Frankel, based on the book Not By The Sword, by Kathryn Watterson; Leland Kimball directed; Andrew M. Kurtz conducted. Center City Opera Theatre production closed June 15, 2012, at the Academy of Vocal Arts, 1920 Spruce St. www.operatheater.org/wp4/slaying-the-dragon.
‘Angels in America’ at the Wilma	June 11 2012
Now that AIDS is no longer immediately fatal, the original theme of Angels in America isn’t as shocking. Instead we look to it for broader themes, which Tony Kushner’s script fortunately provides. It’s funny, too. Angels in America, Part One: Millennium Approaches. By Tony Kushner; Blanka Zizka directed. Through July 1, 2012 at the Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
LaBute’s ‘reasons to be pretty’ by PTC	June 11 2012
Like its predecessors in Neil LaBute’s trilogy, reasons to be pretty throws together four insecure young people with hangups about beauty and their friends’ opinions. reasons to be pretty. By Neil LaBute; Maria Mileaf directed. Philadelphia Theatre Company through June 24, 2012 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-1400 or www.philadelphiatheatrecompany.org.
Tony Kushner’s ‘A Dybbuk,’ by EgoPo	June 11 2012
Tony Kushner’s adaptation of The Dybbuk concerns unrequited love among Hasidic Jews in Eastern Europe. But mysticism is only part of this tale: The story works for skeptics as well as for believers, and for non-Jews as well. A Dybbuk. By S. Ansky; translated by Joachim Neurgrochel; adapted by Tony Kushner; directed by Lane Savadove. EgoPo Classic Theater production through June 17, 2012 at Prince Music Theater, 1412 Chestnut St. www.egopo.org.
‘Tulipomania’ at the Arden (2nd review)	June 02 2012
The intriguing story of Amsterdam’s 17th-Century tulip mania somehow got subordinated within a fictitious story set in a present-day pot bar. Michael Ogborn should have let the audience draw its own comparisons. Tulipomania. Book, music and lyrics by Michael Ogborn; Terrence J. Nolen directed. Arden Theatre production through July 1, 2012 at Arden’s F. Otto Haas Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
‘My Fair Lady’ at Act II in Ambler	June 02 2012
Is it possible to improve on Rex Harrison as Henry Higgins? Tony Braithwaite has a youthful spring in his step that renders him more plausibly romantic. My Fair Lady. Book and lyrics by Alan Jay Lerner; music by Frederick Loewe; Bud Martin directed. Through July 1, 2012 at Act II Playhouse, 56 E. Butler St., Ambler. (215) 654-0200 or www.act2.org.
‘Il Postino’ by Center City Opera	May 26 2012
Center City Opera Theater has launched an ambitious initiative to mount Hispanic opera productions. It got off to a good start this month with Daniel Catán’s Il Postino. Just one quibble: Il Postino isn’t very Hispanic. Il Postino. Opera by Daniel Catán; conducted by Andrew M. Kurtz; Leland Kimball directed. Center City Opera Company production May 17-20, 2012 at Prince Theater, 1412 Chestnut St. (215) 238-1555 or www.operatheater.org.
Shakespeare Theatre’s ‘Titus Andronicus’ (2nd review)	May 26 2012
For once, an audience cheered a Shakespeare play not for its literary style but for its sheer blood-and-guts entertainment. Titus Andronicus. By William Shakespeare; Aaron Cromie directed. Through May 19, 2012 (alternating with Twelfth Night) at Philadelphia Shakespeare Theatre, 2111 Sansom St. (215) 496-8001 or www.phillyshakespeare.org.
The new bittersweet Barnes (2nd review)	May 19 2012
If you set aside the history of the Barnes Foundation, perhaps the new building and its contents can be viewed objectively. But how can anyone disregard history when we’re talking about a museum— which is, after all, a place for preservation of the history of art? The Barnes Foundation, 2025 Benjamin Franklin Parkway, Philadelphia; (215) 278-7000 or barnesfoundation.org.
‘Behanding in Spokane’ by Theatre Exile	May 12 2012
A Behanding in Spokane combines Martin McDonagh’s trademark violence and humor. It’s a 90-minute play that requires great performances to succeed. Fortunately, Theatre Exile provided them. A Behanding in Spokane. By Martin McDonagh; directed by Joe Canuso. Theatre Exile production through May 13, 2012 at Christ Church Neighborhood House, 20 N. American St. (between Front and Second). (215) 218-4022 or www.theatreexile.org.
Opera Company’s ‘Manon Lescaut’	May 05 2012
The title role of Puccini’s Manon Lescaut taxes even seasoned professionals. With just three weeks’ rehearsal, the student Michelle Johnson carried it off with aplomb. Sumptuous costumes helped, too. Manon Lescaut. Opera by Giacomo Puccini; Corrado Rovaris, conductor. Opera Company of Philadelphia production closed April 29, 2012, at Academy of Music, Broad and Locust Sts. (215) 732-8400 or www.operaphila.org.
Donizetti's ‘L’Elisir d’Amore’ by AVA	May 01 2012
Donizetti’s L’Elisir d’Amore is a melodramatic comedy about love. Nic Muni’s current production sets the story in Mussolini’s Fascist Italy, where the stakes are life and death, not to mention damnation. L’Elisir d’Amore. Opera by Gaetano Donizetti; Christofer Macatsoris, music director; Nic Muni, director. Academy of Vocal Arts production through May 3, 2012 at Helen Corning Warden Theater, 1920 Spruce St., Also May 5, 2012 at Central Bucks South High School, 1100 Folly Road, Warrington, Pa.; May 8 & 10, 2012 at Centennial Hall, Haverford School, 450 Lancaster Ave., Haverford, Pa.; and May 13, 2012 at Walter K. Gordon Theater, Rutgers/Camden, Third and Pearl Sts., Camden, N.J. (215) 735-1685 or www.avaopera.org.
Orchestra 2001 considers Bali (2nd review)	May 01 2012
Orchestra 2001's recent Balinese music and dance program combined flash with substance, and crowd appeal with enlightenment— a rare achievement. Orchestra 2001: Boulez, Derive 1; Levinson, Black Magic/White Magic; Lotring, Tabuh Solo, Rejang Dewa; Suadin, Bangau Raja; Whitman, Inside/Outside. James Freeman conductor; Freda Herseth, mezzo-soprano; Indonesian Cultural Club Dancers; Gamelan Semara Santi of Swarthmore College, Thomas Whitman, co-director. April 21, 2012 at Philadelphia Ethical Society, 1906 Rittenhouse Square. (267) 687-6243 or www.orchestra2001.org.
Bruce Graham’s ‘Outgoing Tide,’ by PTC (3rd review)	May 01 2012
To judge from The Outgoing Tide, Bruce Graham has mastered the basic elements of drama and comedy but not the subject of his play: Alzheimer’s disease. The Outgoing Tide. By Bruce Graham; James J. Christy directed. Philadelphia Theatre Company production closed April 22, 2012 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or philadelphiatheatrecompany.org.
Met’s ‘Traviata’ in HD Live	April 28 2012
Willi Decker’s radical production isn’t the only way to do Verdi’s La Traviata, but it’s a convincing alternative, especially with the inimitably vulnerable Natalie Dessay in the title role. La Traviata. Opera by Giuseppe Verdi; Willi Decker directed; Fabio Luisi, conductor. Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. Cinema encore May 2, 2012. www.metoperafamily.org.
Joshua Bell at Verizon Hall	April 21 2012
At 44, the violinist Joshua Bell is no longer a child prodigy, but he’s still a matinee idol. His latest concert served notice that he's been taking himself seriously as a major classical musician all along as well. Academy of St. Martin in the Fields: Mozart, Symphony No. 25 in G minor; Bruch, Violin Concerto No. 1 in G minor; Beethoven, Symphony No. 4 in B-flat major. Joshua Bell, violin and conductor. April 16, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.kimmelcenter.org.
I remember Dick Clark	April 21 2012
A couple of lucky breaks brought Dick Clark to “Bandstand” and then national acclaim as big brother figure to America’s teenagers. But Clark knew how to make the most of his opportunities, as I witnessed firsthand early in his career.
Bach Festival’s ‘St. John Passion’ and anti-Semitism	April 17 2012
Why did Bach immortalize the anti-Jewish Gospel of St. John? The question is worth considering during times of racial and religious intolerance, such as the present. Bach Festival of Philadelphia: The Musical Offering, Eighteen Chorale Preludes, The Passion According to St. John. Choral Arts, Bach Collegium and soloists. Matthew Glandorf, conductor. March 30-April 1, 2012 at St. Mark’s Episcopal Church, 1625 Locust St. (215) 240-6417 or Choralarts.com/bachfestival.
Massenet’s ‘Manon’ at the Met	April 17 2012
When Anna Netrebko as the shameless Manon seduces Des Grieux the priest, the chemistry is hotter than Carmen’s seduction of Don José. She was in terrific voice too, even though the action made it hard to focus on the singing. Manon. Opera by Jules Massenet; Laurent Pelly directed; Gary Halvorsen directed for TV; Fabio Luisi, conductor. Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. Cinema encore April 25, 2012. www.metoperafamily.org.
EgoPo’s ‘The Golem’	March 31 2012
EgoPo previously made its reputation by reviving classic theatrical works; here its ensemble has created a new play, albeit one based on old legends, amalgamating the cultural, spiritual and artistic history of Jewish life in Europe. The Golem. EgoPo Classic Theater ensemble creation; directed by Brenna Geffers. Through April 15, 2012 at Prince Theater, 1412 Chestnut St. (267) 273-1414 or www.egopo.org.
‘West Side Story’ at Academy of Music	March 31 2012
West Side Story revolutionized musical theater in the ‘50s by virtue of being set in the here and now. That’s no longer the case, but the current revival is a revelation in other respects. West Side Story. Conception and choreography by Jerome Robbins; reproduced by Joey McNeely; book by Arthur Laurents; music by Leonard Bernstein; lyrics by Stephen Sondheim directed by Arthur Laurents and David Saint. Through April 8, 2012 at Academy of Music, Broad and Locust Sts. (215) 731-3333 or www.kimmelcenter.org.
Henze’s ‘Elegy For Young Lovers’	March 24 2012
In a well-sung and well-played production, Hans Werner Henze’s 1961 composition, Elegy For Young Lovers, lived up to its advance hype. The drama, alas, did not. Elegy For Young Lovers. Opera by Hans Werner Henze; libretto by W. H. Auden and Chester Kallman; conducted by George Manahan; directed by Chas Rader-Schieber. Joint production of Opera Company of Philadelphia and Curtis Institute, March 14-18, 2012 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.kimmelcenter.org.
‘Fela!’ at Academy of Music (1st review)	March 24 2012
Fela Anikulapo Kuti became famous first for his catchy music, then as an advocate for human rights in Nigeria. This manipulative if entertaining tribute strips the real Fela of his flaws and contradictions, leaving us with a show bereft of any real drama. Fela! Music by Fela Kuti; directed and choreographed by Bill T. Jones. Through March 25, 2012 at Academy of Music, Broad and Locust Sts. (215) 893-1999 or www.kimmelcenter.org/broadway.
‘Curse of the Starving Class’ at the Wilma (2nd review)	March 17 2012
Sam Shepard’s Curse of the Starving Class is a fascinating juxtaposition of realism and surrealism. His characters aren’t the type I’d hang out with, and their actions are off-putting to the extreme. Yet there’s something mesmerizing about their struggles. Curse of the Starving Class. By Sam Shepard; Richard Hamburger directed. Through April 8, 2012 at Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
Shepard’s ‘Fool For Love’ in Norristown	March 06 2012
Sam Shepard’s unhappy and self-absorbed couple in Fool For Love grated on my nerves until the denouement, when I discovered the method lurking behind Shepard’s misery. Fool For Love. By Sam Shepard; direction and design by Randall Wise and John Doyle. Iron Age Theatre production through March 25, 2012 at Centre Theatre, 208 DeKalb St., Norristown, Pa. (610) 279-1013 or www.ironagetheatre.org.
Bass-baritone Eric Owens in recital	March 03 2012
Eric Owens, so persuasive as an opera villain, demonstrated in an intimate recital that he can be Romantic and even downright comic. Eric Owens, bass-baritone, in recital. Hugo Wolf, Four songs based on Michelangelo; Schumann, Four songs; Schubert, Three songs; Debussy, Four songs; Duparc, Two songs; Ravel, Don Quichotte a Dulcinee; Wagner, Les deux grenadiers. Warren Jones, pianist February 28, 2012 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. (215) 569-8080 or www.pcmsconcerts.org.
The Met's ‘Ernani’ in HD-Live	March 03 2012
Anyone who thinks opera today suffers from a dearth of great Verdi singers needs to hear Angela Meade and her fellow soloists in the Met’s telecast Ernani. Ernani. Opera by Giuseppe Verdi; Marco Armiliato conducted; Barbara Willis Sweete directed for TV. Metropolitan Opera, Lincoln Center, 65th St. and Broadway, New York. Cinema encore, March 14, 2012. PBS telecast, June 17, 2012. www.metoperafamily.org or www.fathomevents.com.
AVA’s ‘Pelléas et Mélisande’ (1st review)	February 28 2012
At last— a production of Pelléas et Mélisande that brings out all of the opera’s subtlety and intimacy. Pelléas et Mélisande. Opera by Claude Debussy; Luke Housner, music director; K. James McDowell, director. Academy of Vocal Arts production through Saturday, March 3, 2012 at Helen Corning Warden Theater, 1920 Spruce St. (215) 735-1685 or www.avaopera.org.
New York Philharmonic with Joyce DiDonato (1st review)	February 25 2012
What’s the difference between the New York Philharmonic and the Philadelphia Orchestra? One has more women, the other has more black and brown faces, as well as a lusher string sound. New York Philharmonic. Stucky, Son et lumière, Berlioz, Les nuits d'été; Mussorgsky-Ravel, Pictures at an Exhibition. Joyce DiDonato, mezzo-soprano; Alan Gilbert conductor. February 24, 2012 at Kimmel Center, Broad and Spruce Sts. (215) 893-7902 or kimmelcenter.org.
‘Time Stands Still’ in Ambler	February 25 2012
What’s a journalist’s first duty— to report the atrocities she witnesses, or to try to prevent them? At a time when journalists are dying in Syria, it’s a timely question. It’s also relevant even for theater critics. Time Stands Still. By Donald Margulies; Bud Martin directed. Delaware Theater Company production through March 11, 2012 at Act II Playhouse, 56 E. Butler St., Ambler, Pa. (215) 654-0200 or www.act2.org.
Opera Company’s ‘Abduction From the Seraglio’	February 21 2012
Mozart’s Abduction From the Seraglio resonated at time when Europeans were obsessed with Middle East harems and slave traders. Robert Driver’s attempt to set the opera in post-World War I Turkey is only partly successful. The Abduction From the Seraglio. Opera by Mozart; Robert B. Driver directed; Corrado Rovaris, conductor. Opera Company of Philadelphia production through February 26, 2012 at Academy of Music, Broad and Locust St. (215) 732-8400 or www.operaphila.org.
Wagner’s ‘Götterdämmerung’ at the Met	February 14 2012
What’s the meaning of Wagner’s Ring cycle— the destruction of civilization or the birth of a new world? Robert Lepage’s tepid Götterdämmerung suggests a third possiblity: nothing much, really. Götterdämmerung. Opera by Richard Wagner; Robert Lepage directed; Fabio Luisi conducted. Through April 24, 2012 at Metropolitan Opera, Lincoln Center, 65th St. and Broadway, New York. www.metoperafamily.org.
‘Rain’: Beatles tribute at Academy of Music	February 05 2012
When I first saw this tribute to the Beatles in 2008 I was bothered by its inconsistencies. Now I see that being many things to different people is what Rain is all about. Rain: A Tribute to the Beatles. Through February 5, 2012 at Academy of Music, Broad and Locust Sts. www.kimmelcenter.org.
Verdi’s ‘Oberto’ by AVA	February 05 2012
Verdi demonstrated amazing talent in this first effort, staged when he was 26 years old. Credit AVA’s Christofer Macatsoris for beating Muti and Levine to the punch. Oberto. Opera by Giuseppe Verdi; Christofer Macatsoris, conductor. Academy of Vocal Arts production January 26-31, 2012, at Perelman Theater, Kimmel Center; Grand Opera House, Wilmington; and Centennial Hall, Haverford School, Haverford, Pa. (215) 735-1685 or www.avaopera.org.
‘Clybourne Park’ at the Arden (1st review)	February 04 2012
Bruce Norris’s Clybourne Park is in some respects a sequel to A Raisin in the Sun, set in the same Chicago neighborhood 50 years later. But you don’t need knowledge of that play to appreciate this excellent drama about how racial attitudes have changed over the past 50 years, and how they haven’t. Clybourne Park. By Bruce Norris; Edward Sobel directed. Through March 25, 2012 on the Arcadia stage, Arden Theatre, 40 N. Second St. (215) 922-8900 or www.ardentheatre.org.
Kander & Ebb’s ‘Scottsboro Boys’ by PTC (3rd review)	January 30 2012
The Scottsboro Boys, a reminder of not so distant racial attitudes, deserves more exposure than it received on Broadway in 2010. In its focus on miscarriages of justice, it resembles Kander and Ebb’s hit Chicago. But Scottsboro packs more substance. The Scottsboro Boys. Music and lyrics by John Kander and Fred Ebb; book by David Thompson; Susan Stroman’s original direction and choreography recreated by Jeff Whiting. Philadelphia Theatre Company production through February 19, 2012 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
Nézet-Séguin contemplates Mahler (1st review)	January 28 2012
Yannick Nézet-Séguin sees next year’s Philadelphia orchestra season as a homage to Stokowski’s centennial here. But Yannick may be even gutsier than Stokowski in some respects. Consider his exuberant embrace of a Mahler work that Stokie avoided. Philadelphia Orchestra: Bach, Brandenburg Concerto No. 5; Mahler, Symphony No. 6. Yannick Nézet-Séguin, conductor. January 26-27, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.philorch.org.
Met’s ‘Enchanted Island’ in HD-Live	January 24 2012
Big screen opera can be wonderful when its close-ups convey subtle gestures and notes. But as Enchanted Island demonstrates, the same proximity can make you gag when the characters are hamming it up to excess. Enchanted Island. By Jeremy Sams, inspired by William Shakespeare's The Tempest and A Midsummer Night's Dream; Phelim McDermott directed. Music by George Frederic Handel and other 18th-Century composers. Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. HD cinema encore showing February 8, 2012, at movie theaters nationwide. www.metoperafamily.org and www.fathomevents.com.
Gingrich: The wrong question	January 21 2012
Freshman journalism students are taught never to begin an interview with a question that can be answered with a “yes” or a “no.” The allegedly seasoned professional John King of CNN committed precisely that faux pas with Newt Gingrich.
‘Memphis’ and the real dawn of rock ’n’ roll	January 21 2012
As rock ’n’ roll musicals go, Memphis seems unnecessary. The subject of racial integration among music lovers was well covered ten years ago in Hairspray. A far more intriguing tale— how Bob Horn’s “Bandstand” brought black music to white Philadelphia audiences in the early ’50s— has yet to be celebrated on stage. Memphis: The Musical. Through January 22, 2012 at the Academy of Music, Broad and Locust Sts. (215) 731-3333 or www.kimmelcenter.org or www.memphismusical.vividseats.com.
‘Ludwig Live’ at Kimmel’s Innovation Studio	January 17 2012
Where did Beethoven go wrong? For one thing, he lacked catchy lyrics. For another, he lacked a vivacious sidekick adept at baton twirling and tap dancing. Now he has both. Ludwig Live! Written and directed by Nancy Holson. Presented by Howard Perloff and the Center for the Performing Arts of Bucks County through January 29, 2012 at Innovation Studio, Kimmel Center, Broad and Spruce Sts. (215) 731-3333 or www.kimmelcenter.org.
Why Stokowski left the Orchestra	January 17 2012
The great conductor Leopold Stokowski arrived in Philadelphia 100 years ago. But when exactly did he leave, and why? The facts are complicated, but they tell us something about the eternal dance between temperamental artists and nervous orchestra boards.
Ticciati conducts Beethoven and Sibelius (1st review)	January 14 2012
It’s refreshing to see a conductor breaking with tradition. But did Robin Ticciati’s renderings make Beethoven and Sibelius sound better? Not this time. Philadelphia Orchestra: Beethoven, Violin Concerto; Sibelius, Symphony No. 2. Arabella Steinbacher, violin; Robin Ticciati, conductor. January 12-14, 2012 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.philorch.org.
When Jews ruled basketball	January 14 2012
The all-Jewish Philadelphia Sphas, the outstanding basketball team from the 1920s to the end of World War II, attracted Jews and anti-Semites alike by flaunting the idea of a minority group battling “against the world.” The SPHAS: The Life and Times of Basketball's Greatest Jewish Team. By Douglas Stark. Temple University Press, 2011. 344 pages; $29.50. www.amazon.com. The Mogul. By Rich Westcott. Temple University Press, 2008. 320 pages; $39.00. www.amazon.com. Jewball. By Neal Pollack. Published as an electronic book by Amazon.com. 258 pages; $10.07. www.amazon.com.
‘Hair’ revival at Academy of Music	January 08 2012
Hair, that ’60s celebration of all things hippie, is closing its revival tour just when the Occupy movement threatens to make it relevant all over again. Hair. Book and lyrics by James Rado and Gerome Ragni; music by Galt McDermot; directed by Diane Paulus. Through January 8, 2012 at Academy of Music, Broad and Locust St. (215) 893-1999 or www.kimmelcenter.org.
Handel’s ‘Rodelinda’ at the Met	January 03 2012
At last the Baroque operas of Handel and his contemporaries have found a proper medium. It’s not on the stage of any opera house, but on the cinema screens where the singers don’t need to push and their subtle gestures are readily accessible. Rodelinda. Opera by Georg Frederic Handel; directed by Stephen Wadsworth; conducted by Henry Bicket. Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. HD cinema encore showing at movie theaters Wednesday, January 4, 2012; Canadian encore January 28, 2012. www.metoperafamily.org or www.ncm.com/fathom.
La Scala’s ‘Don Giovanni’: second helping	December 31 2011
I was highly critical the first time I saw director Robert Carsen’s admiring characterization of the title character in La Scala’s new Don Giovanni. On second viewing, I saw new cause for concern in the miscasting of Anna Netrebko. Don Giovanni. Opera by Wolfgang Mozart and Lorenzo Da Ponte. Choir and Orchestra of La Scala in Milan, Daniel Barenboim, conductor; Robert Carsen, director. December 7, 2011 through January 14, 2012 at La Scala, Milan. High-Definition TV version shown December 7 and 27, 2011 at Bryn Mawr Film Institute, 824 W. Lancaster Ave., Bryn Mawr, Pa. www.teatroallascala.org.
1812’s ‘This Is the Week That Is”	December 31 2011
Just when presidential politics are turning ridiculous, Philadelphia’s resident satirical troupe turns soft and fuzzy. This Is the Week That Is. Conceived and directed by Jennifer Childs; head writer Don Montrey. Presented by 1812 Productions through December 31, 2011 at Plays and Players Theatre, 1724 Delancey Pl. (215) 592-9560 or www.1812productions.org.
Theatre Horizon’s ‘Voices of Christmas’	December 20 2011
Unlike most story-driven musicals of this season, Voices of Christmas is a casual cabaret evening of songs and personal stories: low-key, introspective, nostalgic, reminiscent. Inevitably I found my thoughts turning to bygone people and things that once gave me great personal pleasure. Voices of Christmas. Directed by Matthew Decker. Theatre Horizon production through December 31, 2011 at 208 DeKalb St., Norristown, Pa. (610) 283-2230 or theatrehorizon.org.
‘Jersey Boys’ at the Forrest	December 20 2011
Jersey Boys, based on the career of the Four Seasons, has succeeded where other so-called jukebox musicals have failed. Let’s consider why. Jersey Boys. Book by Marshall Brickman and Rick Elice; music by Bob Gaudio; lyrics by Bob Crewe; Des McAnuff directed. Through January 14, 2012 at the Forrest Theatre, 1114 Walnut Street. (800) 447-7400 or www.forrest-theatre.com.
The Met’s new ‘Faust’	December 17 2011
I’m all for tinkering with Faust, Gounod’s beautiful but unwieldy relic of 19th-Century French grand opera. But it’s a bit of a stretch to suggest that America’s atomic scientists were cutting a deal with the devil. That honor belonged more appropriately to Hitler’s scientists. Faust. Opera by Charles Gounod; directed by Des McAnuff; conducted by Yannick Nézet-Séguin. Through January 19, 2012 at the Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. HD cinema encore showing at area movie theaters Wednesday, January 11, 2012. www.metoperafamily.org.
AVA’s ‘Evening of Russian Romances’	December 17 2011
Russian opera singers like Anna Netrebko and Marina Poplavskaya have entered the mainstream. But Russian arias get little exposure. That’s our loss, as AVA’s recent sparkling Russian concert demonstrated. “An Evening of Russian Romances.” Ghenady Meirson, music director and piano accompanist. December 13 & 15, 2011. at Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St. (215) 735-1685 or www.avaopera.org.
La Scala's ‘Don Giovanni’ in HD-TV (1st review)	December 13 2011
Director Robert Carsen is so besotted with Don Giovanni's protagonist that he overlooks the opera’s other fascinating characters. There’s much more to Mozart’s opera than one man's energetic sex life. Don Giovanni. Opera by Wolfgang Mozart and Lorenzo Da Ponte. Choir and Orchestra of La Scala in Milan, Daniel Barenboim, conductor; Robert Carsen, director. December 7, 2011 through January 14, 2012 at La Scala, Milan. High-Definition TV version shown December 7 and 27, 2011 at Bryn Mawr Film Institute, 824 W. Lancaster Ave., Bryn Mawr, Pa. www.teatroallascala.org.
‘Bonnie & Clyde’ on Broadway	December 13 2011
Unlike the original film version, the new musical Bonnie & Clyde refuses to glamorize its bank-robbing lovers. Instead it focuses on the gritty realities of the Great depression, with hummable music that evokes the 1930s. Bonnie & Clyde. Book by Ivan Menchell; lyrics by Don Black; music by Frank Wildhorn; directed and choreographed by Jeff Calhoun. Through December 30, 2011 at Gerald Schoenfeld Theater, 236 West 45th St., New York. (212) 239-6200 or telecharge.com.
Yannick conducts Higdon and Yuja Wang	December 10 2011
Energy was the operative word at this weekend’s Philadelphia Orchestra concerts, in more ways than one: The wunderkind Yannick Nézet-Séguin was conducting in two cities almost simultaneously. Philadelphia Orchestra: Higdon, Concerto for Orchestra; Rachmaninoff, Rhapsody on a Theme of Paganini; Tchaikovsky, Symphony No. 2 (“Little Russian”). Yuja Wang, piano; Yannick Nézet-Séguin, conductor. December 8-11, 2011 at Verizon Hall, Kimmel Center, Broad and Spruce St. (215) 893-1999 or www.philorch.org.
‘Noël and Gertie’ at the Walnut’s Independence Studio 3 (2nd review)	December 06 2011
Noël and Gertie is a series of reminiscences and songs by Coward and Gertrude Lawrence, for whom Coward wrote some of his best-remembered pieces. Theirs was an unequal relationship, and Sheridan Morley’s script has its pluses and minuses. Noel and Gertie. By Sheridan Morley; Will Stutts directed. Through December 31, 2011 at the Walnut Street Theatre Independence Studio 3, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org. For a video excerpt, click here.
Marin Alsop’s elegant simplicity	December 06 2011
Marin Alsop conducts the classics much the way she dresses: unfussy, simple and elegant. Philadelphia Orchestra: Barber, Toccata for Organ and Orchestra; Copland, Concerto for Clarinet and Orchestra; Dvořák, Symphony No. 9 (“From the New World”). December 1-3, 2011 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. ( 215) 893-1999 or www.philorch.org.
Philip Glass’s 'Satyagraha’ at the Met	November 27 2011
Mohandas Gandhi understood how to mobilize the oppressed masses against the elites of his day. Philip Glass’s Satyagraha, for all its ethereal music and purported veneration of Gandhi, seems designed to alienate the masses while deliberately appealing to an elite niche audience. Satyagraha. Music by Philip Glass; libretto by Glass and Constance DeJong; production by Phelim McDermott; Dante Anzolini, conductor. November 26 and December 1, 2011 at Lincoln Center, Broadway and 65th St., New York. HD cinema encore showings December 7 in the U.S., December 17-18 in Europe and the Far East, January 16, 2012 in Canada. www.metoperafamily.org.
‘Maroons’ by Iron Age Theatre	November 25 2011
The Pottsville Maroons joined the National Football League in 1926 and achieved the best won-lost record for that season but were stripped of the league championship on a technicality. Playwright Ray Saraceni has turned that technicality into a dramatic climax, aided by a cast of players who seem more like real coal miners than thespians. Maroons: The Anthracite Gridiron. By Ray Saraceni; directed and designed by John Doyle and Randall Wise. Iron Age Theatre production through November 27, 2011 at the Centre Theater, 208 DeKalb Street, Norristown, Pa. (610) 279-1013 or www.ironagetheatre.org.
AVA’s ‘Tales of Hoffman’	November 15 2011
The new and more authentic version of Offenbach’s Tales of Hoffman resulted in a dramatically improved story as well as melodious music to replace those old bogus tunes that musicologists have expunged. The Tales of Hoffman. Opera by Jacques Offenbach; David Gately, director; Christofer Macatsoris, conductor. Academy of Vocal Arts production through November 22, 2011 at Helen Warden Theater, 1920 Spruce St., and two other locations. (215) 735-1685 or www.avaopera.org.
Met’s ‘Siegfried’ in HD-TV Live	November 13 2011
In Siegfried, Robert Lepage and the Metropolitan Opera have at last come up with a spectacular Ring production that realizes the potential we expected from that director and that company. Siegfried. Opera by Richard Wagner; directed by Robert Lepage; Fabio Luisi, conductor. April 21 and 30 and May 12, 2012 at the Metropolitan Opera, Lincoln Center, 65th St. and Broadway, New York. (212) 362-2000 or www.metoperafamily.org.
Met’s new ‘Don Giovanni’ in HD Live	November 01 2011
In this age of complaints about “class warfare” and widening gaps between the “top one percent” and the rest of us, Don Giovanni takes on new meaning. But only two singers the Met’s production seemed perturbed about the Don’s debaucheries. Don Giovanni. Music by Wolfgang Mozart; libretto by Lorenzo da Ponte; directed by Michael Grandage; Fabio Luisi conducted. Metropolitan Opera production live in movie theaters November 16, 2011 at 6:30 p.m.www.metoperafamily.org.
‘Our Class’ at the Wilma (1st review)	October 25 2011
In the devastating Our Class, the Polish Catholic playwright Tadeusz Slobodzianek plumbs a monstrous (and true) subject: The lives of ten members of a school class in a Polish town whose Jews were incinerated en masse by their Catholic neighbors. Our Class. By Tadeusz Slobodzianek; English version by Ryan Craig; Blanka Zizka directed. Through November 13, 2011 at the Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
John Logan’s ‘Red’ at Suzanne Roberts (2nd review)	October 23 2011
John Logan’s Red dramatizes the ageless tension between art and commerce. Yet not every artist was as angry and even paranoiac as Mark Rothko. Red. By John Logan; Anders Cato directed. Philadelphia Theatre Co. production through November 13, 2011 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.Philadelphiatheatrecompany.org.
EgoPo’s ‘Diary of Anne Frank’	October 23 2011
This adaptation of The Diary of Anne Frank is different from— and better than— the 1955 version you grew up with. Among other things, it’s less squeamish about Anne’s adolescent awkwardness and her family’s Jewishness. The Diary of Anne Frank. By Frances Goodrich and Albert Hackett; adapted by Wendy Kesselman; Lane Savadove directed. EgoPo Classic Theater production through November 6, 2011 at Prince Music Theater, 1412 Chestnut St. (800) 595-4TIX or www.egopo.org.
Lantern Theater’s ‘New Jerusalem’ (2nd review)	October 18 2011
As created by David Ives and portrayed by Sam Henderson, Baruch de Spinoza provides warm and witty company for 21st-Century audiences, even if he bears little resemblance to the real headstrong 17th-Century philosopher. New Jerusalem: The Interrogation of Baruch de Spinoza at Talmud Torah Congregation, Amsterdam, July 27, 1656. By David Ives; Charles McMahon directed. Lantern Theater Company production through November 12, 2011 at St. Stephen’s Theater, 923 Ludlow St. (215) 829-0395 or www.lanterntheater.org.
‘Christie in Love’ at Eastern State Penitentiary	October 15 2011
Howard Brenton’s drama about a gory yet meek serial killer has been chilling audiences for more than 40 years, but never with such haunting effect as last month, when it was performed at Eastern State Penitentiary. Christie in Love. By Howard Brenton; John Doyle directed. Iron Age Theater Company production for Philadelphia Fringe Festival, September 3-17, 2011 at Eastern State Penitentiary, 2027 Fairmount Ave.; also at Centre Theater, 208 DeKalb St., Norristown, Pa. www.ironagetheatre.org.
Handel and Davies operas at Curtis	October 09 2011
Curtis paired two short operas that deal with unrequited love but otherwise have little in common, aside from their ingenious staging by Chas Rader-Shieber. Soprano Anna Davidson’s bravura turn as a jilted bride was well worth watching and hearing, notwithstanding the painful atonal score she was dealt. Apollo e Dafne: Opera by George Frederic Handel (in Italian). Miss Donnithorne’s Maggot, by Peter Maxwell Davies (in English). Staged by Chas Rader-Shieber; Vinay Parameswaran conducted. Curtis Opera production through October 9, 2011 at Curtis Institute of Music, 1726 Locust St. (215) 893-5252 or www.curtis.edu/performances.
‘August: Osage County’ at the Arden	October 09 2011
Unlike its earlier productions, here the harsh words of August: Osage County derive less from anger than desperation; the worst of the characters come across as victims, not monsters. The Arden’s thrust stage brings the cast closer to the audience, again increasing our involvement and consequently our compassion. August: Osage County. By Tracy Letts; Terrence Nolen directed. Through October 30, 2011 at the Arden Theatre, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
Opera Company’s ‘Carmen’ (1st review)	October 04 2011
Bizet would have liked this production of his overexposed Carmen. Its format is less operatic and more realistic, filling in plot details while it fills out the characters— an approach that heightens audience involvement in the story. Carmen. Opera by Georges Bizet. Directed by David Gately; Corrado Rovaris, conductor. Opera Company of Philadelphia production through October 14, 2011 at Academy of Music, Broad and Locust St. (215) 893-1999 or www.operaphila.org.
Poor Richard’s ‘Opera a Day’ (2nd review)	September 25 2011
Most one-act operas can’t stand on their own. The Poor Richard’s company performed a service by presenting five that pass the test, including two I saw. Poor Richard’s “Opera a Day”: Menotti: The Old Maid and the Thief. Bernstein: Trouble in Tahiti. Poor Richard’s Opera Company, September 5-10, 2011 at Trinity Center for Urban Life, 2212 Spruce St. (215) 413-1318 or poorrichardsopera.wordpress.com.
‘Carthaginians’ by Frank McGuinness	September 25 2011
Tired of bitter Irishmen who drown their sorrows in drink, expletives and violence? Meet the higher-toned (but equally bitter) Irish of Frank McGuinness, who resolve their resentments in quiet intellectual contemplation. Carthaginians. By Frank McGuinness; directed by Rosey Hay. REV Theatre Company production for Fringe Festival, September 2-17, 2011, at Gloria Dei (Old Swedes’) Church, 916 S. Swanson St., and Laurel Hill Cemetery, 3822 Ridge Ave., Philadelphia. (215) 413-1318 or www.revtheatrecompany.org.
‘Kimberly Akimbo’ at Theatre Horizon	September 25 2011
Kimberly Akimbo, by the esteemed David Lindsay-Abaire, is a challenging black comedy punctuated with heartbreak and dangerous plot twists. Director Matthew Decker and his cast performed it splendidly. But where’s the emotion? Kimberly Akimbo. By David Lindsay-Abaire; Matthew Decker directed. Through October 2, 2011 at Theatre Horizon, Centre Theatre, 208 DeKalb St., Norristown, Pa. (610) 283-2230 or www.theatrehorizon.org.
‘Lady M’ at Live Arts Festival	September 18 2011
What made Lady Macbeth such a murderous bitch? Shakespeare never told us, but this ingenious interpretation ties her hunger for power to the insecurity of medieval women. Lady M. Conceived by Adrienne Mackey and Catharine K. Slusar, from Shakespeare’s Macbeth; Mackey directed. Swim Pony Performing Arts production for Live Arts Festival, September 1-9, 2011 at Arts Bank, 601 S. Broad St. (215) 413-1318 or ticketing.theatrealliance.org.
‘The Oresteia Project’ at the Fringe Festival	September 17 2011
Some theatergoers think of Greek tragedy as simplistic and heavy-handed. What we saw here was subtle and nuanced. In this 2,500-year-old trilogy, Aeschylus tried to show how equitable, intelligent government could overcome generations of vengeful slaughter. The Oresteia Project. Adapted by Brenna Geffers, from Aeschylus. Philadelphia Artists’ Collective/Fringe Festival production through September 19, 2011 at Broad Street Ministry, 315 S. Broad St. (215) 413-1318 or philartistscollective.weebly.com.
‘Aspects of Love’ at the Walnut	September 17 2011
Aspects of Love is a musical about love among the incurably immature. It’s impossible to take it seriously, as Andrew Lloyd Webber intended. But it almost works as a Gallic sex farce. Aspects of Love. Music by Andrew Lloyd Webber; lyrics by Don Black and Charles Hart, from a novel by David Garnett; Bruce Lumpkin directed; Douglass Lutz, conductor. Through October 23, 2011 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.walnutStreetTheatre.org.
‘Wars & Whores’ at the Fringe Festival	September 17 2011
Wars and Whores is an unpretentious musical version of Shakespeare’s Henry IV, with the story performed straight and the songs composed in a hootenanny style, that nevertheless manages to remain true to Shakespeare’s play. Wars & Whores: The Henry IV Musical. Adaptation from Shakespeare by Sarah Ollove; words and music by Jeff Barg; Benjamin Kamine directed. Underground Shakespeare Company production for Philadelphia Fringe Festival, September 9-11, 2011 at the Rotunda, 4014 Walnut St. (215) 413-1318 or www.undergroundshakespeare.com.
Menotti’s ‘The Consul’ at Princeton	August 06 2011
I had begun to believe that Menotti’s The Consul was an unworthy relic of an outdated era. In Princeton last month, to my astonishment, it demonstrated both dramatic and musical strength. The Consul. Music and libretto by Gian Carlo Menotti; conducted by Joel Revzen; Michael Unger directed. Opera New Jersey production July 16 and 24, 2011 at McCarter Theatre Center, Princeton, N.J. (609) 258-2787 or www.opera-nj.org/performances/consul.html.
‘Gibraltar': James Joyce on stage	July 12 2011
If you can’t quite push yourself to read Ulysses, Patrick Fitzgerald’s Gibraltar lets us savor James Joyce’s many alliterations and flights of wordplay. And they wield extra impact when we hear them aloud. Gibraltar. Adapted from James Joyce's Ulysses by Patrick Fitzgerald. June 15-18, 2011 at Plays and Players Theater, 1714 Delancey Pl. 2011. (215) 735-0630 or www.playsandplayers.org.
Sondheim’s ‘Company’ in HD-live	July 05 2011
When Company opened in 1970, Stephen Sondheim couldn’t have foretold the advent of high-definition video on huge screens. Yet that’s the ideal medium for a Broadway musical that essentially takes place inside people’s minds. Company. Music and lyrics by Stephen Sondheim, book by George Furth. The New York Philharmonic, Paul Gemignani conducting. In HD at select movie theaters nationwide June 16 and19, 2011, with encore July 10 at Bryn Mawr Film Institute, 824 Lancaster Ave., Bryn Mawr. (610) 527-9898 or www.brynmawrfilm.org/films/?id=340. Also at King of Prussia, Neshaminy and Oaks. www.fathomevents.com/performingarts/series/sondheim.aspx.
‘Spider-Man’ on Broadway (2nd review)	July 02 2011
Those spectacular flying scenes aren’t all there is to Spider-Man. The musical offers a vulnerable human hero as well.
‘Great American Trailer Park Musical’	June 28 2011
This energetic show exploits the lifestyle of trashy, low-class denizens of a trailer park in a way that elicits laughs from urban audiences. Still, the enterprise hovers between uncomfortable glorification and superciliousness. The Great American Trailer Park Musical. By Betsy Kelso and David Nehls. Montgomery Theater’s co-production with the 11th Hour Theatre Company, June 3-19, 2011 at Arden Theatre 40 N. Second St. www.11thhourtheatrecompany.org.
Henze’s ‘Phaedra’ by the Opera Company (3rd review)	June 12 2011
I would go back to see and hear Phaedra again in a heartbeat. But dozens of Opera Company subscribers, unjustly afraid of 12-tone music, let their seats go vacant. Phaedra. Music by Hans Werner Henze; directed by Robert Driver; Corrado Rovaris conducted. Opera Company of Philadelphia production through June 12, 2011 at the Perelman Theater, Kimmel Center, Broad and Spruce Sts. (215) 732-8400 or www.operaphila.org.
‘Don Giovanni,’ reconsidered	June 04 2011
If Don Giovanni is a “perfect” opera, why did Mozart cut and replace major arias? And why do many conductors (like Christofer Macatsoris) reinstate the original version? Don Giovanni. Opera by W.A. Mozart; Christofer Macatsoris, conductor; Tito Capobianco directed. Academy of Vocal Arts production, April 30-May 15, 2011, at four Philadelphia locations. www.avaopera.com.
Orchestra’s ‘Damnation of Faust’ (2nd review)	June 04 2011
After ignoring Berlioz’s masterpiece for a century, the Philadelphia Orchestra has now performed The Damnation of Faust twice within two years. I’m glad the orchestra’s management indulged Charles Dutoit, even if he taxed the audience’s endurance. Philadelphia Orchestra: Berlioz, The Damnation of Faust. Paul Groves, tenor; Susan Graham, mezzo-soprano; David Wilson Johnson and Lucas Harbour, baritones; Philadelphia Singers Chorale, David Hayes, music director; American Boychoir, Fernando Malvar-Ruiz, music director. Charles Dutoit, conductor. May 28, 2011 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1900 or www.philorch.org.
‘Coffee Cantata’ by Philadelphia Bach Collegium (1st review)	June 04 2011
Bach’s Coffee Cantata, about a soprano who’s hooked on caffeine, offers proof that the great Johann Sebastian had a sense of humor. Bach: Schweigt stille, plaudert nicht (Be still, stop chattering, also known as The Coffee Cantata); Weichet nur (The Wedding Cantata); Orchestral Suite No. 2. Julianne Baird, soprano, Aaron Sheehan tenor, Matthew Knickman baritone. Philadelphia Bach Collegium, Matthew Glandorf conducting. June 3, 2011 at St. Mark’s Church, 17th and Locust Sts. www.instantencore.com.
What the pros can learn from ‘The Cappies’	May 30 2011
The Cappies, an international project for high school theater and journalism students, is an awards show without commercials or long-winded acceptance speeches. And it’s refreshing to see kids cheering for something other than sports. “The Cappies”: Critics and Awards Program for High School Theater and Journalism. Greater Philadelphia 2011 ceremony May 15, 2011 at Upper Darby Performing Arts Center, 601 N. Lansdowne Ave., Drexel Hill, Pa.www.cappies.com.
‘Miss Saigon’ at the Walnut	May 30 2011
The Walnut's new production of Miss Saigon reaffirms the quality of its authors’ work when they were at their short-lived peak. This play is more compact and focused than Les Miz, and more nuanced than Madam Butterfly, the play and opera on which Miss Saigon is based. Miss Saigon. Music by Claude-Michel Schönberg; lyrics by Richard Maltby Jr. and Alain Boublil; Bruce Lumpkin directed. Through July 17 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.WalnutStreetTheatre.org.
Met’s ‘Die Walküre’ in HD-Live Cinema	May 21 2011
On stage, Wagner’s Die Walküre too often comes across as an overwrought spectacle. Thanks to the close-ups provided by video cameras, we can see Walküre for what it really is: an intimate story of personal relationships. Die Walküre. Opera by Richard Wagner; James Levine, conductor; production designed by Robert Lepage; directed for Live Cinema by Gary Halvorson. Metropolitan Opera, Lincoln Center, New York. HD Live Encore June 1, 2011 (U.S.), June 8 and July 11, 2011 (Canada). (212) 362-6000 or metopera.org.
‘The Merry Widow’ in Wilmington	May 14 2011
After a century, how does Lehár’s The Merry Widow hold up? This Wilmington production recalled Broadway’s post-World War II golden age, propelled by broad humor, energetic dancing and a blissful absence of mechanical amplification. The Merry Widow. Music by Franz Lehár; Marciem Bazell directed; Steven Mosteller, conductor. OperaDelaware production closed May 7, 2011 at The Grand, 818 N. Market St., Wilmington, Del. www.operade.org.
French songs at Academy of Vocal Arts	April 26 2011
To recapture the spirit of French song in the age of Picasso, the Academy of Vocal Arts utilized paintings, film, live animals and genuinely idiomatic singers. One question: Why doesn’t the AVA stage more French operas? “Artistes, Auteurs, et Autres Animaux (Artists, authors and other animals): An Evening of French Chanson.” April 12-13, 2011, at Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St. www.avaopera.org.
‘Wonderland’ on Broadway	April 23 2011
Like Wicked, Wonderland is a spectacular Broadway musical based on a classic children’s story. But it’s certainly friendlier to adults than the bevy of child-oriented DreamWorks and Disney shows now inundating live theaters. Wonderland. Music by Frank Wildhorn; lyrics by Jack Murphy; book by Gregory Boyd and Jack Murphy; Gregory Boyd directed. Marquis Theatre, Broadway and 46th St., New York. Wonderlandonbroadway.com.
Seth Rozin’s ‘Two Jews Walk Into a War’	April 23 2011
Seth Rozin’s Two Jews Walk Into a War is cleverly titled, signaling that it’s a comedy. But make no mistake, he has written a thoughtful examination of faith and a yearning for tradition in a changing world. Two Jews Walk Into a War. By Seth Rozin; James Glossman directed. InterAct Theatre Company production through May 8, 2011 at the Adrienne, 2030 Sansom St. (215) 568-8079 or www.interacttheatre.org.
Choral Arts Society’s Gesualdo program (1st review)	April 09 2011
The Choral Arts Society’s program based on the music of Carlo Gesualdo was daring, and not just because the composer was a triple murderer. Choral Arts Society, "Tenebrae: Shadows of Gesualdo”: Stravinsky, Pater Noster; Gesualdo, Tenebrae Responsoria de Sabbato Sancto; Britten, “Canticles”: Abraham and Isaac, Still falls the rain, The Journey of the Magi; Allegri, Miserere Mei (Psalm 51). Matthew C. Glandorf, conductor. April 8, 2011 at St. Mark’s Church, 1625 Locust St. (215) 240-6417 or www.choralarts.com.
Concert Operetta’s ‘Carp’ and ‘Galatea’	April 04 2011
Who introduced the waltz to 19th-Century European romantic theater? Guess again— it wasn’t Johann Strauss. Concert Operetta Theater: The Carp, music by Quade Winter, and The Lovely Galatea, music by Franz von Suppé. Daniel Pantano, artistic director. March 26-27, 2011 at Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St. (215) 389-0648 or www.concertoperetta.com.
Curtis Opera’s 'Cunning Little Vixen’	April 03 2011
Janácek’s The Cunning Little Vixen is so brimful with melodies and lush orchestration that it ought to be part of the standard operatic repertoire. Since that won’t happen— philosophical allegories lack mass appeal—Curtis deserves our gratitude for reviving it. The Cunning Little Vixen. Opera by Leoš Janácek; Emma Griffin directed; Corrado Rovaris, conductor. Curtis Opera Theatre production March 16-20 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. www.curtis.edu.
Anna Deavere Smith’s ‘Let Me Down Easy’ (2nd review)	March 28 2011
When I learned that my friend was dying at age 59, I sought comfort from my doctor, my rabbi and my therapist. None of them conveyed as much calming effect as the sense of human commonality in Let Me Down Easy. Let Me Down Easy. Written and performed by Anna Deavere Smith; Leonard Foglia directed. Philadelphia Theatre Co. production through April 10, 2011 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or philadelphiatheatrecompany.org.
Ibsen’s ‘Master Builder’ at People’s Light (1st review)	March 27 2011
With its layers of ambiguity, Ibsen’s The Master Builder can be confusing, and the lead characters could seem cartoonish. But the People’s Light cast is superb, and the tone established by director Ken Marini is perfect. The Master Builder. By Henrik Ibsen; translation by Paul Walsh; Ken Marini directed. Through April 17, 2011 at Peoples Light & Theatre, 39 Conestoga Rd., Malvern, Pa. (610) 644-3500 or peopleslight.org.
Tracy Letts’s ‘Superior Donuts’ at the Arden (2nd review)	March 12 2011
The Arden’s new production of Superior Donuts differs vastly from the Broadway presentation I saw in December 2009. The Arden’s more intimate house enables greater subtlety, endowing Tracy Letts’s parable of urban community with a stronger dramatic arc. Superior Donuts. By Tracy Letts; Edward Sobel directed. Through April 3, 2011 at the Arden Theatre, F. Otto Haas Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
My personal stake in ‘Boris Godunov’	March 08 2011
To you, Boris Godunov is a convoluted opera about a power struggle among Russian madmen a long time ago. To me, it holds a possible key to my family’s history. Boris Godunov. Opera with music and libretto by Modest Mussorgsky. March 12 and 17, 2011 at Metropolitan Opera, Lincoln Center, New York. www.metoperafamily.org.
Pianist Andreas Haefliger at the Perelman	March 05 2011
The young German pianist Andreas Haefliger didn’t seem fully engaged when he played Mozart and Liszt. Only when he got to Wagner did he seem to catch fire. Andreas Haefliger, pianist: Works by Mozart, Liszt and Wagner. Philadelphia Chamber Music Society presentation March 3, 2011 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. (215) 569-8080 or www.pcmsconcerts.org.
McDonagh’s ‘The Lieutenant of Inishmore’ (2nd review)	February 27 2011
Martin McDonagh’s gruesome and very funny comedy concerns the stupidity of the culture of revenge— especially the hypocrisy of people who’ll cry over a dead cat but won’t hesitate to kill their political enemies. The Lieutenant of Inishmore. By Martin McDonagh; Matt Pfeiffer directed. Theatre Exile production through March 13, 2011 at Plays and Players, 1714 Delancey Pl. (215) 218-4022 or www.theatreexile.org.
EgoPo’s ‘Artaud Unbound’	February 26 2011
The mission of theater, said the French actor/playwright Antonin Artaud, is to create unforgettable moments of truth. He wound up in a straitjacket, and forgotten to boot. EgoPo’s four playlets help rescue a brilliant theatrical figure from obscurity. Artaud Unbound. Four plays by Antonin Artaud, directed by Lane Savadove, Brenna Geffers, Matt Wright and Michael Alltop. EgoPo Theater production ended February 20, 2011 at the Latvian Society, 531 N. Seventh St. (800) 595-4849 or www.egopo.org.
Strauss’s ‘Arabella’ at AVA	February 22 2011
Richard Strauss wrote operas for big orchestras, but this intimate production on a tiny stage, with just a piano for accompaniment, enabled some of Arabella’s long overlooked qualities to emerge. Arabella. Opera by Richard Strauss; Luke Housner, music director; David Gately, director. Academy of Vocal Arts production through March 1, 2011 at Helen Corning Warden Theatre, 1920 Spruce St. (215) 735-1685 or www.avaopera.org.
‘The Last Five Years’ at Media Theatre.	February 19 2011
The Last Five Years is a two-character musical about a couple's romance, based on its creator’s own wrecked marriage. It’s a triumph of style over substance, thanks especially to excellent performances by Jennie Eisenhower and Marcus Stevens. The Last Five Years. Music and lyrics by Jason Robert Brown; directed by Jesse Cline. Through February 27, 2011 at Media Theatre, 104 E. State St., Media, Pa. (610) 891-0100 or mediatheatre.org.
OCP’s ‘Roméo et Juliette’ (2nd review)	February 19 2011
Is the Opera Company’s fashionista version of Roméo et Juliette a travesty or a breath of fresh air? That’s a matter of personal taste— and among teenagers, the response was surprisingly positive. Roméo et Juliette. Opera by Charles Gounod; Manfred Schweigkofler directed; Jacques Lacombe conducted. Opera Company of Philadelphia production through February 20, 2011 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or www.operaphila.org.
‘Nixon in China’ at the Met	February 18 2011
The Met’s debut production of Nixon in China contains mesmerizing tunes and excellent musical craftsmanship. Its libretto, however, lacks human drama and emotion. It’s more of a documentary than an opera. Nixon in China. Opera by John Adams; libretto by Alice Goodman; directed by Peter Sellars; choreography by Mark Morris. Through February 19, 2011 at Metropolitan Opera House, Lincoln Center, New York. Seen February 12. HD transmission to movie theaters on March 2, 2011. www.metoperafamily.org.
Chris Braak’s ‘Red Emma’ by Iron Age	February 12 2011
The Philadelphia playwright Chris Braak packs loads of information about the fiery anarchist Emma Goldman into little more than an hour, and Mary Tuonamen in the title role is suitably youthful and passionate. Left unanswered is this question: What made Emma tick? Red Emma. By Chris Braak; John Doyle directed. Iron Age Theatre production February 3-6, 2011 at Centre Theater, 208 DeKalb St., Norristown, Pa. To be performed again in Spring 2011 at an unannounced theater. (610) 279-1013 or ironagetheatre.org.
‘Amadeus’ at the Walnut	February 12 2011
Mozart’s music has survived for more than two centuries. After just 32 years, Peter Shaffer’s Amadeus may have worn out its welcome. Amadeus. By Peter Shaffer; directed by Malcolm Black. Through March 6, 2011 at Walnut Street Theatre, 825 Walnut St. 800-982-2787 or www.walnutstreettheatre.org.
Menotti Centenary concert at Curtis	February 08 2011
The late composer Gian-Carlo Menotti was so prolific, gregarious and commercial that serious music critics often dismissed his work. But the “best of Menotti” excerpts assembled for his Centenary concert sounded better than the original operas. What he needed, apparently, was a good curator. Curtis Celebrates the Centenary of Gian Carlo Menotti. Danielle Orlando, curator and piano accompanist. February 4, 2011 at Field Hall, Curtis Institute, 1726 Locust St. (215) 893-5252 or www.curtis.edu.
Concert Operetta’s ‘Remembering Romberg’ (2nd review)	February 07 2011
Some critics find Sigmund Romberg’s exotic operettas schmaltzy and outdated. I disagree, and the recent production of Romberg highlights by the Concert Operetta Theater reinforced my feeling. Concert Operetta Theater: “Remembering Romberg.” Music by Sigmund Romberg with words by Oscar Hammerstein II, Dorothy Donnelly, Otto Harbach, et al. Catharine Layton, Zulimar Lopez-Fernandez, sopranos; Patrick Layton, tenor; John-Andrew Fernandez, baritone; Michael Presser, narrator; Donald Yonker, writer; Daniel Pantano, artistic director. January 30, 2011 at Helen Corning Warden Theater, Academy of Vocal Arts, 1920 Spruce St. (215) 389-0648 or www.concertoperetta.com.
Finn’s ‘A New Brain’ at Plays and Players	February 05 2011
A musical comedy about undergoing brain surgery? Yes, and it works, too. A New Brain. Music and lyrics by William Finn; book by Finn and James Lapine; Daniel Student directed. January 13-29, 2011 at Plays and Players Theatre, 1714 Delancey Pl. (215) 735-0630 or www.playsandplayers.org.
‘Suor Angelica’ and 'Il Tabarro’ by AVA	January 25 2011
Puccini’s music, often taken for granted, is best displayed when his operas are performed with the instrumentalists on stage, as the Academy of Vocal Arts did in this double bill. Suor Angelica and Il Tabarro. Operas by Giacomo Puccini; Christofer Macatsoris, conductor. Academy of Vocal Arts production January 21-22 at Perelman Theater, Kimmel Center, Broad and Spruce Sts.; January 26, 2011 at Centennial Hall, Haverford School, Haverford, Pa. (215) 735-1685 or www.avaopera.com.
Philadelphia Orchestra’s ‘Inca Trail’ concert	January 25 2011
For one magical evening, the varied music of South America’s Inca Trail spilled out of Verizon Hall and into the Kimmel’s usually vacant lobby. Is his the long-awaited formula for breathing life into Philadelphia’s underachieving cultural center? Philadelphia Orchestra: “The Inca Trail.” Miguel Harth-Bedoya, conductor. January 14, 2011 at Kimmel Center, Broad & Spruce Sts. (215) 893-1999 or www.philorch.org.
‘In the Heights’ on tour	January 22 2011
In the Heights is an innovative show based in the traditions of musical theater— sort of case of pouring new Hispanic wine into old Jewish, Italian or Irish bottles. Once poor immigrants try to improve their lives in New York City, with an upbeat end. In the Heights. Music and lyrics by Lin-Manuel Miranda; book by Quiara Alegria Hudes. Through January 17-23, 2011 at the Academy of Music, Broad and Locust Sts. (215) 731-3333 or www.kimmelcenter.org.
‘Les Misérables’ on tour	January 08 2011
The new 25th anniversary production of Les Misérables is actually better than the 1985 London original, which came to Broadway in 1987. In an era when return engagements usually are stripped-down reductions, this re-mounting by the original producer Cameron Mackintosh is bigger and more imaginative. Les Misérables. Music by Claude-Michel Schönberg; lyrics by Herbert Kretzmer, from the original French text by Alain Boublil and Jean-Marc Natel; additional material by James Fenton; directed by Laurence Connor and James Powell. Through January 15, 2010 at Academy of Music, Broad and Locust St. (215) 731-3333 or www.kimmelcenter.org.
Yannick and the Orchestra: Mozart’s ‘Requiem’ (1st review)	January 08 2011
Yannick Nézet-Séguin cut his teeth as a choral director but has bent over backwards to avoid being typecast as an opera maestro in Philadelphia. But his dazzling Mozart/Debussy concert displayed his love of vocal music, and the likelihood that Philadelphians can expect much more. Philadelphia Orchestra: Debussy, Nocturnes; Mozart, Requiem. Yannick Nézet-Séguin, conductor. Through January 9, 2011, at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1900 or www.philorch.org.
‘Tannhäuser’: Blasphemy or piety?	January 01 2011
Is Tannhäuser a religious opera, or sacrilegious? Put the blame on Wagner, a composer who insisted on his right to partake of both worlds. Tannhäuser. Opera by Richard Wagner. December 11, 2010-January 2, 2011 by The Royal Opera, Covent Garden, London. Available on www.bbc.co.uk/radio/programmes.
‘Phillies’: The ultimate coffee-table book	December 28 2010
Marcel Proust bit into a Madeleine to unleash a flood of childhood memories. Phillies offers old posters, baseball cards and ticket stubs that you can touch and caress. Top that, Kindle! Phillies: An Extraordinary Tradition. Scott Gummer, editor. Insight Editions, 2010. 244 pages; $50.00. www.amazon.com.
Valley Forge reconsidered	December 25 2010
I’ve been to Valley Forge National Park many times for jogging, bicycling and picnics. But a new tour program enabled me to see it through the eyes of Washington’s soldiers who camped there during the brutal winter of 1777-78. Valley Forge National Historic Park. Open year-round from dawn to dusk at Route 23 and North Gulph Road, Valley Forge, Pa. Visitor Center and other park buildings open 9 a.m.-5p.m. daily. 90-minute guided trolley tours are available during the Christmas-to-New Years week, and again in the spring. (610) 783-1077 or www.nps.gov/vafo.
Theatre Horizon’s ‘Very Merry Xmas Carol’	December 21 2010
We often hear about plays intended for audiences of all ages, but this broad satire of A Christmas Carol is a rare one that really works across a wide spectrum. The Very Merry Xmas Carol Holiday Adventure Show. By Tim Sawicki, Justin Jayne, Dave Johnson and Bradley Wrenn; directed by Alex Torra. Presented by Theatre Horizon and the Berserker Residents through December 31, 2010 at Centre Theatre, 208 DeKalb St., Norristown, Pa. (610) 283-2230 or www.TheatreHorizon.org.
The Met’s ‘Don Carlo’: The high-def screen version	December 14 2010
What’s the difference between a live opera performance and a high-definition screen transmission? Like night and day, to judge from the Met’s Don Carlo. On screen, for one thing, singers can whisper. For another, you can notice whose portrait is in a jewel box. Don Carlo. Opera by Giuseppe Verdi; directed by Nicholas Hytner directed; Yannick Nézet-Séguin, conductor. Through December 18, 2010 at Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. Live high-definition transmissions to movie theaters December 11, 2010, with U.S. encore January 5, 2011 and Canadian encores January 22 and February 14, 2011. www.metoperafamily.org.
Monteverdi Vespers by Choral Arts and Piffaro (3rd review)	December 14 2010
To appreciate Monteverdi’s Vespers of 1610, it helps to understand the age and the place in which it was composed. In effect this operatic pioneer was following in Michelangelo’s artistic footsteps. Monteverdi, Vespers of 1610. Choral Arts Philadelphia, chorus; Matthew Glandorf, music director. Piffaro Renaissance Wind Band; Joan Kimball and Robert Weimken, co-directors. December 5, 2010 at First Baptist Church, 17th and Sansom Sts. Choral Arts: www.choralarts.com. Piffaro: (215) 235-8469 or www.piffaro.org.
La Scala’s ‘Walkure’ on the high-def big screen	December 12 2010
The good news: The miracle of high-definition TV saved me the hassle of a plane trip to La Scala’s opening night. The bad news: This new production of Wagner’s Die Walkure was the dullest in my memory, and La Scala made no concessions to the demands of large-screen cinema. Die Walkure. Opera by Richard Wagner; directed by Guy Cassier; Daniel Barenboim, conductor. New production for the opening night of the La Scala Opera, Milan, Italy. HD telecast December 7, 2010 at Bryn Mawr Film Institute, 824 W. Lancaster Avenue, Bryn Mawr, Pa. (610) 527-9898 or brynmawrfilm.org.
John Smitherman’s ‘All Aboard… And Then Some!’ (2nd review)	December 07 2010
New theater companies are most welcome when they bring an individual approach. Keep your eye on Laugh Out Loud’s unique approach to comedy. All Aboard…And Then Some! Written and directed by John Smitherman. Laugh Out Loud Theatre Company production through December 5, 2010 at the Adrienne Theatre, 2030 Sansom St. (941) 544-0164 or jdsentertainments.com.
Verdi’s ‘Don Carlo’ at the Met (live)	December 04 2010
The main flaw in the Met’s outstanding new production of Don Carlo lies in the international nature of its cast. The use of a French-Canadian conductor, a half-French tenor and various Russian, British and American soloists may seem like welcome egalitarianism, but non-Italians have a rough time capturing the flavor of Verdi, that quintessential Italian nationalist. Don Carlo. Opera by Giuseppe Verdi; directed by Nicholas Hytner directed; Yannick Nézet-Séguin, conductor. Through December 18, 2010 at Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. Live high-definition transmissions to movie theaters December 11, 2010, with U.S. encore January 5, 2011 and Canadian encores January 22 and February 14, 2011. (212) 362-6000 or Metoperafamily.org.
Garwood’s ‘Scarlet Letter,’ by AVA (2nd review)	November 30 2010
Margaret Garwood has found in The Scarlet Letter a strong piece of musical theater. In some places she has actually improved Hawthorne’s story telling. Whether the music will survive is another question. The Scarlet Letter. Music and libretto by Margaret Garwood, from Nathaniel Hawthorne’s novel. Richard A. Raub, conductor; Dorothy Danner, director. Academy of Vocal Arts world premiere November 19-21, 2010 at Merriam Theater, 250 S. Broad St. (above Spruce). (215) 735-1685 or www.avaopera.org.
‘South Pacific’ revival on tour (1st review)	November 28 2010
When I was a teenager I thought that South Pacific was mostly about finding love at first sight on “Some Enchanted Evening.” Now I see that it's mostly about the ways in which our human prejudices isolate us from each other. South Pacific. Music by Richard Rodgers; book by Joshua Logan and Oscar Hammerstein II; lyrics by Hammerstein; Bartlett Sher directed; Lawrence Goldberg, conductor. November 23-28, 2010 at Academy of Music, Broad and Locust Sts. November 30-December 5, 2010 at Hershey Theatre, Hershey, Pa. www.hersheytheatre.com.
‘Molumby’s Million’ by Iron Age Theatre	November 28 2010
Molumby’s Million, in its world premiere, recreates the true story of a misbegotten attempt to stage a Jack Dempsey boxing match in a remote Montana town. It has the virtue of presenting all of its flawed characters sympathetically. Molumby's Million. By DW Gregory; John Doyle directed. Iron Age Theatre production through November 28, 2010 at Centre Theater, 208 DeKalb St., Norristown, Pa. (610) 279-1013 or www.ironagetheatre.org.
'Irving Berlin’s White Christmas’ at the Walnut	November 28 2010
You’ve heard about shows where you come out of the theater humming the songs? Well, with Irving Berlin's White Christmas you walk into the theater humming them. The show is superficial, corny and old-fashioned, but it sure is fun. Irving Berlin’s White Christmas. Music and lyrics by Irving Berlin; book by David Ives and Paul Blake; Marc Robin directed and choreographed. Through January 9, 2011 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
‘25th Annual Putnam County Spelling Bee’ by PTC	November 20 2010
Two secrets explain the success of The 25th Annual Putnam County Spelling Bee. This production adds some fresh ingredients to the mix. The 25th Annual Putnam County Spelling Bee. Music and lyrics by William Finn; book by Rachel Sheinkin; Marc Bruni directed. Philadelphia Theatre Company production through December 12, 210 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). (215) 985-0420 or www.philadelphiatheatrecompany.org.
‘The Scottsboro Boys’ on Broadway (1st review)	November 14 2010
Those Broadway pickets who object to the minstrel format of The Scottsboro Boys miss the point. This musical tells a disturbing story of racism through a device that’s racially charged, and also very entertaining. The Scottsboro Boys. Book by David Thompson; music and lyrics by John Kander and Fred Ebb; Susan Stroman directed and choreographed. Closed December 12, 2010 at Lyceum Theater, 149 West 45th St. (between Broadway and Sixth Ave.), New York. (212) 239-6200 or scottsboromusical.com.
Yannick and the Orchestra (5th review)	November 05 2010
Under Yannick Nézet-Séguin’s baton, the Philadelphians delivered more presence and more color to Mahler’s Fifth than Simon Rattle’s Berliners did. Nézet-Séguin makes his intentions clear to the musicians, perhaps because he, like most of his players, is a North American. Philadelphia Orchestra: Haydn, Symphony No. 100 (“Military”) in G; Mahler, Fifth Symphony in C-sharp minor. Yannick Nézet-Séguin, conductor. October 29-31, 2010 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 893-1999 or www.philorch.org.
Lantern Theater’s ‘Uncle Vanya’ (1st review)	November 02 2010
Lantern Theater’s production of Uncle Vanya is unusually intimate, shining more focus than usual on the unheralded characters in Chekhov’s tragicomedy of dissolute gentry. The cast rises to the challenge. Uncle Vanya. By Anton Chekhov; directed by Kathryn MacMillan. Lantern Theater Company production through November 21, 2010 at St. Stephen’s Theatre, 923 Ludlow St. (215) 829-0395 or www.lanterntheater.org.
‘Threepenny Opera’ at the Arden	October 26 2010
Although virtually all cultured people are familiar with The Threepenny Opera, the play remains elusive. Contrary to conventional belief, it’s not about the plight of the poor. It’s about the plight of the poor performers. The Threepenny Opera. Music by Kurt Weill; adaptation and lyrics by Bertolt Brecht, from the play by John Gay; Terrence J. Nolen directed. Through November 7, 2010 at Arden Theatre, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org. To view a video excerpt, click here.
Met’s ‘Boris Godunov’ and its critics	October 23 2010
The Met’s new production of Boris Godunov has been criticized because it’s so long. Nonsense. At last we have a restoration of this epic of Russian history as Pushkin put it in words and as Mussorgsky transcribed it into music theater. Boris Godunov. Opera by Modest Mussorgsky; directed by Stephen Wadsworth; Valery Gergiev, conductor. Through March 17, 2011 at Metropolitan Opera, Lincoln Center, Broadway and 66th St., New York. High-Definition transmissions to movie theaters October 25 and November 1, 20100. (212) 362-6000 or www.metoperafamily.org.
The Met’s ‘Das Rheingold’ in HD-Live (2nd review)	October 23 2010
Das Rheingold scored only a middling success when I saw its live transmission in High Definition. The staging looked expensive but failed to achieve the magic of Lepage’s earlier productions. Das Rheingold. Opera by Richard Wagner; James Levine conducted; Robert Lepage directed. Metropolitan Opera HD-Live performance October 9, 2010; encore October 27, 2010. www.metoperafamily.org.
‘Macbeth’ at the Wilma (1st review)	October 10 2010
The Wilma Theater’s new Macbeth is concerned more with the struggle of an oppressed people fighting to overthrow tyranny than it is with the title character and his wife. Shakespeare would approve. Macbeth. By William Shakespeare; Blanka Zizka directed. Through Nov. 13, 2010 at Wilma Theater, 265 S. Broad St. (at Spruce). (215) 546-7824 or www.wilmatheater.org.
Opera Company’s ‘Otello’ (3rd review)	October 10 2010
The Opera Company of Philadelphia’s production of Verdi’s Otello was beautifully sung, staged and orchestrated. What it lacked was violence. Otello. Opera by Giuseppe Verdi; libretto by Arrigo Boito, from Shakespeare; Robert Driver directed; Corrado Rovaris, conductor. Opera Company of Philadelphia production through October 15, 2010 at Academy of Music, Broad and Locust Sts. (215) 893-1018 or www.operaphila.org.
Hollinger’s ‘Ghost-Writer’ at the Arden (2nd review)	September 28 2010
Ghost-Writer concerns the mysterious process of literary creation. That’s quite a monumental task, but Michael Hollinger handles it so well that the drama flows with energy and wit. Ghost-Writer. By Michael Hollinger; directed by James J. Christy. Through November 7, 2010 at Arden Theatre Co.’s Arcadia Stage, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
EgoPo’s ‘Marat/ Sade’ (4th review)	September 27 2010
Contrary to what you may have read elsewhere, the merits of using the Rotunda Sanctuary for Marat/ Sade outweighed its auditory problems: This decaying building proved marvelously effective as an incarnation of a 17th-Century institution and as metaphor for crumbling authority. The Persecution and Assassination of Jean Paul Marat as Performed by the Inmates of the Asylum of Charenton under the Direction of the Marquis de Sade. By Peter Weiss; adapted by Geoffrey Skelton; directed by Brenna Geffers. EgoPo Theater production for the Philadelphia Fringe Festival through September 18, 2010 at the Sanctuary at the Rotunda, 4014 Walnut St. (215) 413.9006 or www.livearts-fringe.org.
‘Madwoman of Chaillot’ (2nd review)	September 26 2010
Was The Madwoman of Chaillot a swipe at France’s Nazi occupiers? Only in retrospect. Let’s lay this myth to rest and consider the play’s other virtues. The Madwoman of Chaillot. By Jean Giraudoux; directed by Tina Brock. Idiopathic Ridiculopathy Consortium/Philadelphia Fringe Festival production through September 18, 2010 at Walnut Street Theatre Studio 5, 825 Walnut St. www.livearts-fringe.org.
‘Curtains’ at the Walnut	September 26 2010
Eschewing the sure-fire opportunities of Broadway hits classics is a brave and welcome change of pace by the Walnut. Unfortunately, Curtains is contrived and uninvolving— a weak example of its creators’ talents. Curtains. Book by Rupert Holmes; music by John Kander; lyrics by Fred Ebb; original book by Peter Stone; Richard Stafford directed and choreographed. Through October 24, 2010 at Walnut Street Theatre, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
Thaddeus Phillips’s ‘¡El Conquistador!’ at the Fringe (2nd review)	September 21 2010
¡El Conquistador! was a triumphant comic thriller, the most effective work yet from Thaddeus Phillips and his creative company. ¡El Conquistador! By Tatiana Mallarino and Thaddeus Phillips in collaboration with Victor Mallarino; Phillips directed. Lucidity Suitcase production for Fringe Festival, September 8-11, 2010 at Suzanne Roberts Theatre, 480 S. Broad St. (at Lombard). www.livearts-fringe.org/details.cfm?id=12723.
‘Putnam County Spelling Bee’ in Norristown	September 21 2010
This engaging musical comedy explores childhood and adolescence through the sweet and funny prism of school spelling competitions. In some respects the new Theatre Horizon production is the best version yet. The 25th Annual Putnam County Spelling Bee. Music and lyrics by William Finn;’ book by Rachel Sheinkin; Matthew Decker directed. Theatre Horizon production through October 3, 2010 at Centre Theater, 208 DeKalb St., Norristown. (610) 283-2230 or www.theatrehorizon.org.
Nichole Canuso’s ‘Takes’ at the Fringe (1st review)	September 20 2010
This inventive portrayal of a couple’s relationship, as seen from several perspectives, is less important than the expression of feelings and the visceral movement of bodies. Dito van Reigersberg and Nichole Canuso are so convincing as a couple that we’re rarely aware of them as performers. Takes. Choreography y Nichole Canuso; directed by Canuso and Lars Jan. Through September 18, 2010 at Theater West at the HUB, 626 N. Fifth St. Philadelphia Live Arts Festival. www.nicholecanusodance.com/productions/takes or www.livearts-fringe.org/details.cfm?id=12748.
‘The Gross Clinic’ restored (1st review)	July 26 2010
At last The Gross Clinic, Thomas Eakins’s 1875 masterpiece of art as well as medical science, can be seen as Eakins envisioned it, revealing details that have been distorted since its aggressive brightening of the 1920s. Now we can see the artist's original point: Before electricity, surgeons operated largely in the dark— literally as well as figuratively. “Seeing The Gross Clinic Anew.” Through January 9, 2011 at the Pearlman Building, Philadelphia Museum of Art, Ben Franklin Parkway and 26th St. (215) 763-8100 or www.philamuseum.org. After January 9, 2011 at Pennsylvania Academy of the Fine Arts, Broad and Cherry Sts. www.pafa.org.
Second City’s 50th anniversary tour (1st review)	July 20 2010
After 50 years, Chicago’s Second City still displays a distinct style of satirical humor that transcends its competitors. Its forte is spontaneous improvisation, but its real distinction is an indescribable weird, dark quality. Second City 50th Anniversary Tour. Directed by Bill Bungeroth. Through July 25, 2010 at Suzanne Roberts Theatre, Broad and Lombard St. 215-985-0420 or www.philadelphiatheatrecompany.org.
‘The Secret of Sherlock Holmes’ at People’s Light (2nd review)	July 17 2010
The Secret of Sherlock Holmes challenges conventional detective stereotypes, presenting a Sherlock Holmes with noticeable flaws and a Dr. Watson of intellect and humor. The Secret of Sherlock Holmes. By Jeremy Paul; Stephen Novelli directed. Through August 8, 2010 at People’s Light & Theatre Company, 39 Conestoga Road, Malvern. (610) 644-3500 or www.peopleslight.org.
‘Musical of Musicals’ at Walnut Studio 3 (1st review)	June 26 2010
This complex 2003 parody of Broadway musicals keeps revealing new subtleties, and we can appreciate this superb cast even more when we see them up close in an intimate space like the Walnut’s upstairs independence Studio 3. The Musical of Musicals, the Musical. Music by Eric Rockwell; lyrics by Joanne Bogart, book by Rockwell and Bogart; Craig Fols directed. Through June 27, 2010 at Walnut Street Theatre, Independence Studio on 3, 825 Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
A new twist on ‘Avenue Q’	June 19 2010
The Broadway musical Avenue Q finds its raison d’être in contrasting what kids learned from “Sesame Street” with what they experience when they go out in the real world. The untimely death of the troubled former child actor Gary Coleman makes you wonder: Is this really a laughing matter? Avenue Q. Music and lyrics by Robert Lopez and Jeff Marx; book by Jeff Witty. Through June 20, 2010 at Academy of Music, Broad and Locust Sts. (215) 893-1999 or www.kimmelcenter.org.
Opera Company’s ‘Orphée et Eurydice’ (3rd review)	June 19 2010
Unlike the Met’s elaborately complicated staging of Gluck’s Orphée et Eurydice, Robert Driver’s Philadelphia version strives for simplicity. In many respects it’s the more endearing of the two. Orphée et Eurydice. Opera by Christof Willibald Gluck (Hector Berlioz adaptation) directed by Robert B. Driver; Corrado Rovaris, conductor. In French with English supertitles. Opera Company of Philadelphia production through June 25, 2010 at Perelman Theater, Kimmel Center, Broad and Spruce Sts. (215) 732-8400 or www.operaphila.org.
Straus’s ‘The Merry Niebelungs’ by Concert Operetta Theater	June 15 2010
Whether you love Wagner or loathe him, you’ll probably enjoy Oscar Straus’s 1904 parody, especially in its new American translation. The Merry Niebelungs. Operetta by Oscar Straus; translation by Michael Ashby, Daniel Pantano and Stephan Stoeckl; José Meléndez, music director. Concert Operetta Theater production, June 12-13, 2010 at Academy of Vocal Arts, 1920 Spruce St. (215) 389-0648 or www.concertoperetta.com.
‘Sunday in the Park’ at the Arden (2nd review)	June 07 2010
The two acts of Sondheim’s Sunday in the Park With George have never been as perfectly balanced as they are in Terrence Nolen’s new production. Because this is a show about an artist’s quest for balance, that’s the ultimate compliment. Sunday in the Park With George. Music and lyrics by Stephen Sondheim; book by James Lapine; directed by Terrence J. Nolen. Through July 4, 2010 at Arden Theatre, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
‘Fiddler On the Roof’ at the Walnut	May 31 2010
The Walnut Street Theater’s production of Fiddler on the Roof is better than any I’ve seen, aside from the original Broadway staging that ran from 1964 to 1972. Fiddler On the Roof. Book by Joseph Stein; music by Jerry Bock; lyrics by Sheldon Harnick; Bruce Lumpkin directed. Through July 18, 2010 at Walnut Street Theatre, Ninth and Walnut St. (215) 574-3550 or www.walnutstreettheatre.org.
Vaclav Havel’s ‘Leaving’ at the Wilma (1st review)	May 28 2010
Here’s a play about what happens when a statesman leaves office by a statesman who did leave office. But for all the insights he might have offered in Leaving, Vaclav Havel shoots for farce rather than drama. Leaving. By Vaclav Havel; directed by Jiri Zizka. Through June 20, 2010 at Wilma Theater, 265 S. Broad St. (at Spruce). 215-546-7824 or www.WilmaTheater.org.
LA Philharmonic visits Verizon Hall (2nd review)	May 22 2010
With his East Coast premiere of John Adams’s City Noir and his surprisingly intense interpretation of Tchaikovsky’s Sixth Symphony, the LA Philharmonic’s young conductor Gustavo Dudamel demonstrated that he’s more than just another pretty face. 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.
The Met’s ‘Armida’ in HD transmission	May 18 2010
In the Met’s production of Rossini’s Armida, wonderful scenes and the stunning performance of Renée Fleming alternate with long patches of lesser interest. Armida. Opera by Gioacchino Rossini. Directed by Mary Zimmerman; Riccardo Frizza, conductor. Metropolitan Opera high-definition screen production May 19, 2010 in movie theaters throughout the U.S. (May 22 in Canada.) www.metoperafamily.org.
Opera Company’s ‘La Traviata’ (2nd review)	May 15 2010
The Opera Company’s stunning production of La Traviata, updated to the Roaring ‘20s, shouldn’t be discarded just because it’s anachronistic. But how can we see the Violetta-Alfredo relationship as more upsetting in a sexually liberated age? Let me suggest a solution. 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.
‘Xanadu’ in Wilmington	May 11 2010
Xanadu, a knockoff of a 1980 movie about a goddess who helps a bunch of California kids open a disco, lacks a discernible point, other than a chance to hear some good disco music once again. That point alone may suffice. Xanadu. Book by Douglas Carter Beane; music by John Farrar and Jeff Lynne. May 4-9, 2010 at DuPont Theatre, Hotel DuPont, 1007 N. Market St., Wilmington, Del. 302-594-3154 or 800-338-3404 or xanaduonbroadway.com.
AVA’s ‘La Bohème’	May 11 2010
Everyone in the cast of AVA’s La Bohème displayed youthful fervor and sang at a level equal to or better than what one sees in professional opera houses. Watch especially for soprano Na Li Youm, whose large yet intimate voice will take her far (even if she’s too healthy-looking to play the consumptive Mimi). La Bohème. Opera by Giacomo Puccini; directed by Dorothy Danner; Christofer Macatsoris, conductor. Academy of Vocal Arts production May 11, 13, 2010 at Centennial Hall, Haverford School 450 Lancaster Avenue, Haverford; also May 15, 2010 at Walter K. Gordon Theater, Rutgers/Camden, Third and Pearl Sts., Camden, N.J. (215) 735-1685 or www.avaopera.com.
Tracy Letts’s ‘August: Osage County’ on tour (2nd review)	May 04 2010
The traveling cast played August: Osage County mostly as a comedy. But on Broadway, the cast expressed strong emotions when confronting suicide, addictions, infidelity, child molestation and incest. Wouldn’t you, if this were your family? August: Osage County. By Tracy Letts; directed by Anna D. Shapiro. Through May 2, 2010 at the Forrest Theatre, 1114 Walnut St. (215) 893-1999 or www.kimmelcenter.org.
Lantern Theater’s ‘Henry IV, Part I’ (2nd review)	May 01 2010
Lantern’s Henry IV, Part I is well acted, but the most impressive thing about this production is the immediacy and the royalty of the set in such a small and intimate space. Henry IV, Part I. By William Shakespeare; Charles McMahon directed. Lantern Theater production through May 9, 2010 at St. Stephen’s Theater, 923 Ludlow St (215) 829-0935 or www.lanterntheater.org.
‘Romeo and Juliet’ at Annenberg	April 27 2010
The co-producers of this touring Romeo and Juliet have targeted communities across America and, in particular, young audiences. But something got lost in the transition. Shakespeare’s Romeo and Juliet. Directed by Penny Metropulos. Co-production by The Acting Company (New York) and The Guthrie Theater (Minneapolis), April 20-24, 2010 at Annenberg Center, 3680 Walnut St. (215) 898-3900 or www.pennpresents.org.
Verdi’s ‘La Traviata’ at the Met	April 17 2010
The Metropolitan Opera will soon retire Franco Zeffirelli’s lavish production of La Traviata. The compensation is this spring’s debut of the dashing tenor James Valenti. The opera world hasn’t seen this combination of voice and stature since Franco Corelli. La Traviata. Opera by Giuseppe Verdi. Through April 24, 2010 at Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. www.metoperafamily.org.
Neil LaBute’s ‘Fat Pig’ by Theatre Horizon	April 17 2010
Neil LaBute’s Fat Pig— a commentary about prejudice against those who are different, especially the overweight— is a daring choice for a small suburban company. Its callous characters are difficult to watch but also difficult to turn away from. Fat Pig. By Neil LaBute; directed by Matthew Decker. Theatre Horizon production through May 1, 2010 at Centre Theater, 208 DeKalb St., Norristown, Pa. (610) 283-2230 or www.theatrehorizon.org.
‘The 39 Steps’ in Wilmington	April 13 2010
Patrick Barlow’s The 39 Steps is an entertaining spoof of the Hitchcock genre, using a series of clever slapstick stunts in place of the master’s subtle wit. The 39 Steps. By Patrick Barlow, from a book by John Buchan; directed by Maria Aitkin. April 6-11, 2010 at DuPont Theatre, 1007 N. Market Street, Wilmington, Del.. (800) 338-0881 or www.duponttheatre.com.
Joys of spring training	April 03 2010
Charlie Manuel, the Phillies’ manager couldn’t wait to finish spring training. But for me and many others, Florida baseball in March is a much more intimate experience than anything you’ll find up North during the regular season.
‘The Lion King’ gets the tour treatment	March 27 2010
In its touring production, The Lion King looks as fresh and gorgeous as ever. But it has undermined its original tone as a human drama. The Lion King. Songs by composer Elton John and Tim Rice, score by Hans Zimmer; directed by Julie Taymor. Through Saturday, April 24, 2010 at Academy of Music, Broad and Locust Sts. (215) 731-3333 or www.kimmelcenter.org.
Thomas’s ‘Hamlet’ at the Met	March 27 2010
Hamlet, the seldom-performed opera by the 19th-Century French composer Ambrose Thomas, departs significantly from Shakespeare. Yet it works as a drama. Hamlet. Opera by Ambrose Thomas. Through April 9, 2010 at Metropolitan Opera, Lincoln Center, Broadway and 65th St., New York. High-definition simulcast at selected movie theaters, Wednesday, April 14, 2010. (212) 362-6000 or www.metoperafamily.org.
Lessons from Tilson Thomas (2nd review)	March 27 2010
The recent orchestral triumphs of Vladimir Jurowski and Michael Tilson Thomas offer further proof that orchestral excellence by itself doesn’t suffice; audiences yearn as well for a conductor with personality. San Francisco Symphony: Mahler Second Symphony. Michael Tilson Thomas, conductor; Katarina Karneus, mezzo-soprano; Laura Claycomb, soprano; Westminster Choir, Joe Miller, director. March 22, 2010 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215) 790-5800 or www.kimmelcenter.org.
Muti conducts Verdi’s ‘Attila’ at the Met	March 20 2010
Riccardo Muti is pumping new excitement into Attila, one of Verdi’s weakest operas— which, like Muti himself, hasn’t previously appeared at the Met. Attila. Opera by Giuseppe Verdi. Riccardo Muti, conductor; Pierre Audi, director. Through March 27, 2010 at Metropolitan Opera, Broadway and 65th St., New York. (212) 362-6000 or www.metoperafamily.org/metopera.
Jurowski ignites the Orchestra (1st review)	March 20 2010
Maestro Vladimir Jurowski attracted a full house to the Philadelphia Orchestra and generated wild enthusiasm by the end. This charismatic young conductor could hold the key to the struggling Orchestra’s future. Philadelphia Orchestra: Beethoven, Third Symphony (“Eroica”); Schumann, Piano Concerto; Brahms, Tragic Overture. Vladimir Jurowski, conductor; Benedetto Lupo, piano. March 18-20, 2010 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. Free pre-concert conversation 7 p.m. (215) 893-1999 or www.philorch.org
Chile: Left wing and right, together	March 06 2010
Chile is in the news this week due to that disastrous earthquake, and North Americans are realizing how little we know about that country. That’s a shame, because Chile today offers us a useful lesson in peaceful coexistence between laissez-faire capitalism and nanny-state socialism.
Tan Dun’s ‘Tea’ by the Opera Company (2nd review)	February 27 2010
I wouldn’t go out of my way to see Tan Dun’s Tea: A Mirror of the Soul for its story. But its music is tantalizing and provocative. Tea: A Mirror of Soul. Opera composed and conducted by Tan Dun; libretto by Tan Dun and Xu Ying; translation by Diana Liao; directed by Amon Miyamoto. Opera Company of Philadelphia production through February 28. 2010 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or www.operaphilly.com.
Met’s ‘Simon Boccanegra’ on simulcast	February 13 2010
The Met’s new production of Verdi’s unjustly ignored masterpiece, Simon Boccanegra, had even more impact on a big screen than in the opera house. Imagine Domingo and Morris, in close-up and in the fullness of their maturity, singing beautifully about the end of life. Simon Boccanegra. Opera by Giuseppe Verdi; James Levine, conductor. Live performance from the Metropolitan Opera simulcast in theaters nationwide on February 6, 2010 and February 24, 2010 (6:30 p.m. local time). Canada Encore: March 20, 2010, 1 p.m. www.metoperafamily.org/metopera/broadcast.
McNally’s ‘Golden Age’ by PTC (2nd review)	February 02 2010
Golden Age may be set in 1835, but it’s actually Terrence McNally’s latest paean to the obsession of his life, Maria Callas. Music lovers will relish hearing about vocal techniques, public tastes, jealousies and gossip about other singers and composers, but it goes on too long. 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.
AVA’s ‘Norma’ and ‘Trovatore’ in concert	February 02 2010
The recent Academy of Vocal Arts concert offered beautiful, professional-level singing with strong accompaniment by the AVA orchestra, conducted by the school’s musical director, Christofer Macatsoris. It also provided inadvertent insight into the difference between Bellini and Verdi. Norma and Il Trovatore. Opera excerpts by Bellini and Verdi, respectively, in concert; Christofer Macatsoris, conductor. Academy of Vocal Arts production January 29-30 at Perelman Theater, Kimmel Center, and February 2, 2010 at Centennial Hall, Haverford College, 450 Lancaster Ave., Haverford. (215) 735-1685 or www.avaopera.com.
How we misjudged Obama	January 26 2010
A year ago, many observers (including me) thought Obama was the second coming of Franklin D. Roosevelt. In retrospect, FDR and Obama have more differences than similarities. But FDR was changed for the better by a personal crisis, and Obama might do the same.
Met’s ‘Carmen’ — the HD theatrical version	January 22 2010
My reservations about the Metropolitan Opera’s new production of Carmen were swept away when I saw the luscious Latvian mezzo Elina Garanca on a big movie screen. Carmen. Opera by Georges Bizet; directed by Richard Eyre; Yannick Nézet-Séguin, conductor. Live high-definition theatrical version February 3, 2010 at 6:30 p.m. at selected movie theaters; PBS telecast, May 16, 2010. This production will be seen again in theaters Wednesday, February 3, at 6:30 p.m. Eventually available as a DVD. www.metoperafamily.org.
Metropolitan Opera’s new ‘Carmen’	January 16 2010
The Metropolitan Opera’s new production of Carmen, set in fascist Spain of the 1930s, contains three outstanding elements: its Carmen, its Don José and its conductor. Their relative importance may well be in reverse order. Carmen. Opera by Georges Bizet; directed by Richard Eyre; Yannick Nézet-Séguin, conductor. Through May 1, 2010 at Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.org.
‘Tales of Hoffman’ at the Met	January 09 2010
Nit-picking critics have jumped on the Metropolitan Opera’s new production of Tales of Hoffman for using a “discredited” version of the Offenbach score. A more valid criticism is the treatment of the opera’s central character, which is key to our understanding of the composer himself. The Tales of Hoffman. Opera by Jacques Offenbach; directed by Bartlett Sher; James Levine conducted. Metropolitan Opera production ended January 3, 2010 at Lincoln Center, New York. 212-362-6000 or www.metoperafamily.org/metopera.
‘Ragtime’ on Broadway, reconsidered (2nd review)	December 29 2009
Thanks to the Lincoln Center Library’s collection of theater videotape recordings, I discovered a few things I’d overlooked in my original review of Ragtime. So why can’t Philadelphia find foundation funding for a similar theater video repository? Ragtime. Script by Terrence McNally; lyrics by Lynn Ahrens; music by Stephen Flaherty; directed by Lynn Dodge Milgrom. Through January 10, 2010 at the Neil Simon Theatre, 250 West 52nd St., New York. (212) 757-8646 or www.neilsimontheatre.com.
‘Superior Donuts’ on Broadway	December 22 2009
Superior Donuts is a gem of a comedy, notable for its warm comic interplay among genuinely recognizable characters. Too bad its Broadway run is closing soon. Superior Donuts. By Tracy Letts; directed by Tina Landau. Through January 3, 2009 at the Music Box Theatre, 239 W. 45th St. (between Broadway and Eighth Ave.), New York. (212) 239-6200 or www.donutsonbroadway.com.
‘Holiday Show With the Swing Club Band’	December 19 2009
Instead of pretending to tell a story, this highly entertaining production authentically recreates a nightclub as it would have appeared on the last night of 1949— the last New Year’s Eve of a triumphant America at peace. Holiday Show With the Swing Club Band. Script by Mike Reilly; directed by Matthew Decker. Through January 3, 2010 at Theatre Horizon, 208 Dekalb St., Norristown, Pa. (610) 283-2230 or www.theatrehorizon.org.
Philadelphia Orchestra plays Wagner (1st review)	December 12 2009
The Philadelphia Orchestra demonstrated that Wagner without drama can be beautiful. It can also put you to sleep. Philadelphia Orchestra: Wagner’s The Ring (arranged by de Vlieger); Walker, Violin Concerto. Neeme Järvi, conductor; Gregory Walker, violin. December 10-12, 2009 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. 215.893.1999 or www.philorch.org.
‘This Is the Week That Is’ by 1812 Productions (2nd review)	December 12 2009
The latest edition of This Is the Week That Is improves on its predecessors because it does more than attack the unpopular Bush administration. The writers clearly hold conflicted views about Obama’s behavior as president, and their uncertainty leads to a more nuanced show than in the past. 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.
Nézet-Séguin conducts the Orchestra (2nd review)	December 11 2009
Poor César Franck— even the Philadelphia Orchestra’s program annotator chides his symphony for being repetitive. But in an age before cell phones, TV and recordings, concerts provided leisurely immersion in beautiful sounds. Philadelphia Orchestra: Vivier, Orion; Brahms First Piano Concerto; Franck, Symphony in D minor. December 3-5, 2009 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. 215.893.1999 or www.philorch.org.
‘Legally Blonde’ in Wilmington	December 07 2009
Legally Blonde– the Musical doesn’t aim to be serious or exploratory, so sophisticated theatergoers might pass it by. If you do, it’s your loss. Legally Blonde. Book by Heather Hach; music and lyrics by Laurence O'Keefe and Nell Benjamin; directed and choreographed by Jerry Mitchell. December 1-6, 2009 at DuPont Theatre, 1007 Market St. Wilmington, Del. (800) 338-0881 or tour.legallyblondethemusical.com.
The Academy's acoustics: A forgotten treasure	December 01 2009
Conventional wisdom holds that the Philadelphia Orchestra “has never had a hall worthy of its sound.” Not so. From the Orchestra’s founding in 1900, the Academy of Music’s acoustics drew nationwide raves from musicians, conductors, audiences and architects alike— until the Academy's stewards began tampering with it in 1960.
‘Ragtime’ revived in New York (1st review)	November 28 2009
The new budget-minded revival of Ragtime is apt and, in some scenes, provides more clarity than the 1998 original. But one particular economy disturbs me. Ragtime. Script by Terrence McNally; lyrics by Lynn Ahrens; music by Stephen Flaherty; directed by Lynn Dodge Milgrom. At the Neil Simon Theatre, 250 West 52nd St., New York. (212) 757-8646 or www.neilsimontheatre.com.
‘Light in the Piazza’ by PTC (1st review)	November 21 2009
The Philadelphia Theatre Company’s version of The Light in the Piazza is a unique accomplishment, adapting the look of New York’s spacious Lincoln Center production to a smaller stage. It’s a great re-interpretation of a gentle musical about fragile people. 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.
Verdi’s ‘Falstaff’ by the Academy of Vocal Arts	November 21 2009
Can a mere 17 voices (and no chorus) do justice to Falstaff? As the Academy of Vocal Arts demonstrates, Verdi’s last masterpiece is an opera that benefits from intimacy. Falstaff. Opera by Giuseppe Verdi; directed by Tito Capobianco; Christofer Macatsoris, conductor. Academy of Vocal Arts productions November 13, 17, 19 at Warden Theater, 1920 Spruce St.; November 21, 2009 at central Buck South high School, Warrington, Pa.; November 23, 2009 at Centennial Hall, Haverford School, Haverford, Pa. (215) 735-1685 or www.avaopera.com.
Jurowski awakens the Orchestra	November 06 2009
The combination of Vladimir Jurowski’s inspired Slavic programming and the exciting young Armenian violinist Sergey Khachatryan generated the sort of intermission buzz that hasn’t been heard at Philadelphia Orchestra concerts for a good while. Philadelphia Orchestra: Stravinsky, Scherzo fantastique; Tchaikovsky, Violin Concerto; Prokofiev, Symphony No. 4. Vladimir Jurowski, conductor; Sergey Khachatryan, violin. October 29-31, 2009 at Verizon Hall, Kimmel Center. (215) 893-1955 or www.philorch.org.
The Orchestra’s strange new ‘Collections’	November 06 2009
As the result of a survey three years ago, the Philadelphia Orchestra now offers subscribers four “collections” of concerts. But the guidelines for each “collection” seem arbitrary, if not amorphous.
Opera Company’s ‘Madame Butterfly’ (2nd review)	October 26 2009
This Butterfly was perhaps the most beautiful I’ve ever seen. Virtually everything about it suits the legend and never intrudes on the story. I have only two quibbles. Madame Butterfly. Opera by Giacomo Puccini; directed by Cynthia Stokes. Opera Company of Philadelphia production through October 18, 2009 at Academy of Music, Broad and Locust St. (215) 732-8400 or operaphila.org.
‘Alegria’ vs. ‘Humor Abuse’	October 18 2009
If you want to enjoy Lorenzo Pisoni’s Humor Abuse, I suggest you see Cirque du Soleil’s Alegria the day before, as I did. Alegria’s clowns demonstrate far less dexterity, originality and humor than Pisoni does. And he’s a more engaging fellow, too. Alegria: Cirque du Soleil. October 13-19, 2009 at Liacouras Center, Temple University. www.cirquedusoleil.com. 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.
Philadelphia Orchestra’s quandary (and Yuja Wang)	October 15 2009
Last weekend’s Philadelphia Orchestra program seemed aimed at the ghosts of Eugene Ormandy’s old crowd. Charles Dutoit isn’t giving us the type of innovative programming he provided in his young conducting days in Montreal. Philadelphia Orchestra: Barber, Adagio For Strings; Berlioz, Symphonie Fantastique; Prokofiev, Piano Concerto No. 2. Yuja Wang, piano; Charles Dutoit, conductor. October 8-10, 2009 at Verizon Hall, Kimmel Center. (215) 893-1955 or www.philorch.org.
‘The History Boys’ at the Arden (2nd review)	October 13 2009
Alan Bennett’s The History Boys is a witty play about the value of education and a paean to the joys of language. But for all the choreographic staging and careful attention to accents in the Arden’s current production, the actors’ words themselves are often inaudible. The History Boys. By Alan Bennett; Terrence J. Nolen directed. Through Nov. 1, 2009 at the Arden Theatre, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
'Nathan the Wise’ at People’s Light (2nd review)	October 10 2009
Gotthold Lessing’s Nathan the Wise is an 18th-Century brotherhood plea that flunks most standard tests of drama and betrays little realistic knowledge of Jews, Muslims and even Christians. Its author’s utopian idealism renders it fascinating nevertheless. Nathan the Wise. By Gotthold Lessing; translation by Edward Kemp; directed by Abigail Adams. Through October 11, 2009 at People’s Light & Theatre Company, 39 Conestoga Road, Malvern, Pa. (610) 644-3500 or www.peopleslight.org.
‘Dirty Rotten Scoundrels’ at the Walnut (2nd review)	September 22 2009
Dan Rottenberg’s complaints notwithstanding, Dirty Rotten Scoundrels is above all a rejection of serious theater and a spoof of old Broadway musicals. On that admittedly lightweight level, it succeeds amply. 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.
‘Little Shop of Horrors’ in Norristown	September 21 2009
The hero of Little Shop of Horrors always thought of his man-eating plant as female. So why has it taken 49 years for a theater company to cast a woman as the plant? Little Shop of Horrors. Music by Alan Menken; libretto by Howard Ashman; directed by Megan Nicole O'Brien. 11th Hour Theater Company and Theatre Horizon production through October 4, 2009 at Centre Theater, 208 DeKalb St., Norristown, Pa. (610) 283-2230 or www.theatrehorizon.org.
Center City Opera’s ‘ConNextions’	September 13 2009
Two new operas are impressively played and sung in a double-bill by Center City Opera Theater. But The Always Present Present is plagued by awkward vocal writing, and Darkling suffers from a static story. "ConNextions: The Next Generation of Opera." Center City Opera Theater/Philadelphia Fringe Festival production through September 13, 2009 at Lantern Theater, Tenth and Ludlow St. 215.413.1318 or www.livearts-fringe.org/details.cfm?id=9083.
‘Edgar Allan Poe Comes Alive’ at Fringe Festival	September 08 2009
This year marks the 200th anniversary of the birth of Edgar Allan Poe, and Scott Craig Jones is Poe reincarnated. Too bad he chose to bring Poe into the present, instead of taking the audience back into Poe’s past. Edgar Allan Poe Comes Alive! Traveling Jones Theater/Fringe Festival production through September 19, 2009 at Studio 1831, 1831 Brandywine St. 215.413.1318 or www.livearts-fringe.org/details.cfm?id=8943.
Wagner’s ‘Ring’ cycle (Part 6: ‘Götterdämmerung’)	August 02 2009
Götterdämmerung, the last of Wagner’s four-part Ring operas, ends with Valhalla in flames, the destruction of the gods, and Wotan a disillusioned pessimist, much like Wagner himself. Is this the death of religion? The triumph of science or nature? Wagner lets us take our pick. Der Ring des Nibelungen (The Ring of the Niebelungs). Opera by Richard Wagner.
World Team Tennis: Antidote for sports violence	July 28 2009
Must professional sports bring out the worst in their fans? Consider one exception: World Team Tennis, where even the abrasive John McEnroe behaves like a teddy bear. Philadelphia Freedoms: World Team Tennis. Home matches at Freedoms Stadium, in front of The Court of King of Prussia, Rte. 202. Season finale July 29, 2009. www.philadelphiafreedoms.com.
Concert Operetta’s ‘A Waltz Dream’	July 07 2009
Philadelphia’s Concert Operetta Theater has evolved to the point where its offerings can be counted on for excellent singing and emotionally satisfying performances. This is quite an accomplishment for a genre once thought to have died with the monarchies of middle Europe. A Waltz Dream. Operetta by Oscar Straus; directed by Daniel Pantano; Michele Scanlon, music director. Concert Operetta Theater production June 20-21, 2009 at Warden Theater, Academy of Vocal Arts, 1920 Spruce St. www.concertoperetta.com.
Opera Company’s ‘Rape of Lucretia’ (3rd review)	July 04 2009
The Opera Company’s production of The Rape of Lucretia demonstrated how much can be done on a small stage with a modest budget. But the opera suffers from the insertion of religious Christian doctrine into a story that predated Christ by five centuries. The Rape of Lucretia. Opera by Benjamin Britten; libretto by Ronald Duncan; directed by William Kerley. Opera Company of Philadelphia production June 5-14, 2009 at the Perelman Theater, Kimmel Center. (215) 893-1018 or www.operaphila.org.
Robert Lepage’s ‘The Andersen Project’	July 04 2009
Unlike most of Robert Lepage’s high-tech spectacles, The Andersen Project depends mostly on the spoken word and the audience’s imagination. This was fine with me, but some audience members seemed surprised and disappointed. The Andersen Project. Written and directed by Robert Lepage. June 11-13, 2009 at Merriam Theater, 250 S. Broad St. (above Spruce). www.merriam-theater.com.
‘Spring Awakening’ at the Academy of Music (1st review)	June 29 2009
The Broadway musical Spring Awakening arrived trailing a slew of awards (including the Tony for Best New Musical of 2007). But this staging amounts to a cartoon version of Frank Wedekind’s landmark play about the repressed adolescence in 1890s Germany. Spring Awakening. Book and lyrics by Stephen Sater, based on the play by Frank Wedekind; music by Duncan Sheik; directed by Michael Mayer. June 23-28, 2009 at Academy of Music, Broad and Locust Sts. www.kimmelcenter.org/news/item.php?item=2009-03-18
PTC’s ‘Grey Gardens’ (2nd review)	May 30 2009
In Philadelphia Theatre Company’s production of Grey Gardens, Joy Franz as the mother and Hollis Resnik as the daughter preen in such an exaggerated style that they lose our empathy. Theater is a different medium from the cult film on which this musical is based. They should show us, not tell us what we need to know. 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.
Wagner’s ‘Ring’ cycle (Part 5: ‘Siegfried’)	May 24 2009
Wagner’s Siegfried is a dumb, muscular bully– a hard fellow to like. But 19th-Century Americans had no such problem: Wagner deliberately created an aggressive modern man who defies all the rules of the past, just like the Americans who were boldly opening the West by pushing aside everything that stood in their way. Der Ring des Nibelungen (The Ring of the Niebelungs). Through May 9, 2009 at the Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.org.
Ringling Brothers Circus at the Spectrum	May 24 2009
The sight of ten elephants standing on their hind legs and spinning around brings a smile to my face, and to my son’s and virtually everyone else’s at the Ringling brothers Barnum & Bailey Circus. If a lawsuit alleging cruelty to these animals succeeds, this may be our last opportunity to watch this stunt. Ringling Brothers Barnum & Bailey Circus. Through May 25, 2009 at the Wachovia Spectrum. (800) 298-4200 or www.ticketsnow.com/Venue/Wachovia-Spectrum.
EgoPo’s ‘Bluebird’ (2nd review)	May 14 2009
Who else but EgoPo would tackle a play like Maurice Maeterlinck’s Bluebird? And what other company could lavish so much time on learning and rehearsing such a daunting work, whose language and style are alien to most audiences and to almost all of today’s actors? Bluebird. By Maurice Maeterlinck, adapted by Molly Rice; directed by Lane Savadove; music by Orchestra 2001. EgoPo production through May 10, 2009 at Mandell Theatre, 33rd and Chestnut St. (800) 595-4849 or www.egopo.org.
Wagner’s ‘Ring’ cycle (Part 4: 'Die Walküre’)	May 12 2009
Wagner really was at the top of his game when he wrote Die Walküre. Perhaps he was energized by the chance to glamorize incest and throw it in the face of conventional society. But his greatest inspiration was the difficult father-daughter relationship between Wotan and Brünnhilde. Der Ring des Nibelungen (The Ring of the Niebelungs). By Richard Wagner; James Levine, conductor. Through May 9, 2009 at the Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.org.
Wagner’s ‘Ring’ cycle (Part 3: ‘Das Rheingold’)	May 04 2009
Wagner’s Das Rheingold introduced a new form of opera, far removed from the tradition of Rossini, Donizetti and Verdi, and even different from Wagner’s own earlier romantic operas like Lohengrin and Tannhauser. The orchestra states the themes, sets the mood and remains pre-eminent throughout. Der Ring des Nibelungen (The Ring of the Niebelungs). By Richard Wagner; James Levine, conductor. Through May 9, 2009 at the Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.org.
Opera Company’s Ravel/Puccini double bill	May 02 2009
Ravel’s opera L'enfant et les sortilèges runs only 45 minutes, and Puccini’s Gianni Schicchi barely 55, but in tandem they make a full and satisfying evening, thanks especially to clever staging and excellent performances. L'enfant et les sortilèges and Gianni Schicchi. Operas by Joseph-Maurice Ravel and Giacomo Puccini, respectively. Opera Company of Philadelphia production through May 3, 2009 at Academy of Music, Broad and Locust St. (215) 893-1018 or www.operaphila.org.
Wagner’s ‘Ring’ cycle (Part 2)	April 28 2009
For the past half-century, producers of Wagner’s Ring have focused on the characters’ psychology, much more than on the telling of a story. Instead of celebrating German forests, castles and genius, they tapped into themes like fear of death and loss of control. All well and good. But must the original version disappear altogether? Der Ring des Nibelungen (The Ring of the Niebelungs). Through May 9, 2009 at the Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.org.
Arden’s ‘Something Intangible’ (2nd review)	April 25 2009
By hewing too closely to the true story of Hollywood’s Disney brothers, Bruce Graham distracts the audience from an otherwise generally entertaining play. Graham would do better to take his details from his own imagination rather than the historical record. Something Intangible. By Bruce Graham; directed by Terrence J. Nolen. Through June 7, 2009 at the Arden Theatre, 40 N. Second St. (between Market and Arch). (215) 922.1122 or www.ardentheatre.org.
FDR’s Hundred Days: Two books	April 24 2009
As we near the completion of President Obama’s first hundred days in office, I’ve just read two books about Franklin D. Roosevelt’s famous hundred. Of the many volumes written about FDR, only these two focus on those first days. One is worth reading; the other is infuriating. The Defining Moment: FDR’s Hundred Days and the Triumph of Hope. By Jonathan Alter. 432 pages; $29.95. Simon & Schuster, 2006. www.amazon.com. The Forgotten Man: A New History of the Great Depression. By Amity Shlaes. 480 pages; $26.95. HarperCollins, 2007. www.amityshlaes.com.
Wagner’s 'Ring' cycle (Part 1)	May 07 2009
The Metropolitan Opera’s current Ring cycle may be the last ever produced in the traditional four-night, 15-hour style envisioned by Richard Wagner. I’ve attended Wagner’s operas for decades. Now I must persuade my neophyte wife to appreciate this brilliant (albeit obnoxious) composer before it’s too late. Der Ring des Nibelungen (The Ring of the Niebelungs). Through May 9, 2009 at the Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.org.
Lantern Theater’s ‘Hamlet’ (2nd review)	April 18 2009
In his review of Lantern Theater’s Hamlet, Robert Zaller raises an interesting point: Why didn’t the prince succeed to the throne of Denmark immediately upon his father’s death? I have an answer. Hamlet. By William Shakespeare; directed by Charles McMahon. Lantern Theater production through May 17, 2009 at St. Stephen’s Theater, Tenth and Ludlow St. (215) 829-0395 or www.lanterntheater.org.
Simpatico’s ‘Long Day’s Journey Into Night’ (2nd review)	March 28 2009
Simpatico reminds us that Long Day’s Journey is an intimate play with a small cast, set in one living room. Very appropriate, then, to see it close up on a small stage, even if the actors look better than they sound. Long Day’s Journey Into Night. By Eugene O’Neill; directed by Carol Laratonda. Simpatico Theatre Project production through March 29, 2009 at Adrienne Second Stage, 2030 Sansom St. (215) 423-0254 or simpaticotheatre.org.
Curtis Opera’s ‘Wozzeck’ (3rd review)	March 23 2009
Alban Berg’s opera, Wozzeck, gets a bad rap as being atonal, unmelodic and, therefore, inaccessible to most of the public. In fact Berg’s passionate music matches the story perfectly. Wozzeck. Opera by Alban Berg; directed by Emma Griffin; Corrado Rovaris, conductor. Curtis Opera Theatre production March 13-18, 2009 at Perelman Theater, Kimmel Center. (215) 893-7902 or www.curtis.edu.
O’Neill Festival in Chicago	March 10 2009
Chicago’s Goodman Theatre is nearing the end of a two-month, eight-play festival that concentrates on O’Neill’s early works– the oeuvre that made his reputation as America’s leading playwright. Philadelphia and New York should be so lucky. “A Global Exploration: Eugene O'Neill in the 21st Century.” Eight plays, including Desire Under the Elms and The Hairy Ape. January 17-February 22 at the Goodman Theatre, 170 N. Dearborn St., Chicago, Ill. (312) 443-3800 or www.goodmantheatre.org.
Vienna Philharmonic at Verizon Hall (2nd review)	March 01 2009
The extremely well balanced Vienna Philharmonic is accustomed to shouldering a huge and diverse workload. But last week it assumed what struck me as a dispiriting assignment: playing second fiddle to the histrionics of piano virtuoso Lang Lang. Vienna Philharmonic. Zubin Mehta, conductor; Lang Lang, piano. February 24, 2009 at Verizon Hall, Kimmel Center. (215) 790-5800 or www.kimmelcenter.org.
Opera Company’s ‘Turandot’	February 24 2009
The Opera Company’s Turandot boasts a pleasant tenor in Francesco Hong, an innovative director in Renaud Doucet and a colorful set borrowed from the Dallas Opera. Why, then, was the stage in near-darkness for much of the opera? Turandot. Opera by Giacomo Puccini. Directed by Reanud Doucet; Maurizio Barbacini, conductor. Opera Company of Philadelphia production through March 6, 2009 at Academy of Music, Broad and Locust Sts. (215) 893-1018 or www.operaphila.org.
‘Rent’ at Academy of Music	February 07 2009
In today’s tough economic times, a play about people who can’t afford the rent is more relevant than ever. That’s why a new DVD and a live tour of Rent are especially welcome. Rent. Music, book and lyrics by Jonathan Larson; directed by Michael Greif. National Touring company at Academy of Music, Broad and Locust St., February 3-8, 2009. (215) 893-1999 or www.kimmelcenter.org. Feb. 10-15, 2009 at New Jersey Performing Arts Center, 1 Center St., Newark. (888) GO-NJPAC or www.njpac.org. Rent: The Final Week. DVD version by Sony Pictures. www.rent.thehotticket.net.
Live opera vs. high-definition screenings	February 03 2009
Which is better: Live opera at the Met in New York, or a high-definition transmission at your local movie theater? Maybe that’s the wrong question. Why not get the best of both worlds, as I do? Lucia di Lammermoor. By Gaetano Donizetti; directed by Mary Zimmerman, with Anna Netrebko and Piotr Beczala. High-definition screening at selected theaters, February 7, 2009 at 1 p.m. www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx
AVA’s ‘La Fiamma’ (2nd review)	February 03 2009
The Academy of Vocal Arts presented three performances of Respighi’s 1934 opera, La fiamma, that were a treat. Whether this rarely heard opera deserves to be added to the standard repertoire is another question. La fiamma. Opera by Ottorino Respighi; Christofer Macatsoris, conductor. Academy of Vocal Arts production January 23-24, 2009 at Perelman Theater, Kimmel Center, January 27, 2009 at Centennial Hall, Haverford College. (215) 735.168 or www.avaopera.com.
PTC’s ‘Resurrection’ (2nd review)	February 03 2009
Daniel Beaty’s Resurrection contains lovely prose poetry about the pressures and futility of black male life in the ghetto. It speaks of hope, yes, but it’s an almost-miraculous old-fashioned hope— not the real, pragmatic hope symbolized by Barack Obama election. 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.
‘My Name is Asher Lev’ at the Arden	January 27 2009
My Name Is Asher Lev is a gratifying play about father-son conflict. In this concentrated form, the play actually turns out to be more intense than the Chaim Potok novel on which it’s based. My Name Is Asher Lev. By Aaron Posner, from the novel by Chaim Potok. Posner directed. Through March 15, 2009 at Arcadia Stage, Arden Theatre, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
‘Compleat Shakespeare’ in Norristown	January 27 2009
A play called The Compleat Works of Wllm Shkspr (Abridged) may sound pedantic or trivial. But neither is the case in this sparkling comedy, which respects the Bard but finds fun within his works. The Compleat Works of Wllm Shkspr (Abridged). Created by The Reduced Shakespeare Company. Through February 15, 2009 at Theatre Horizon, 208 DeKalb St., Norristown, Pa. (610) 283-2230 or theatrehorizon.org.
Walnut’s ‘Streetcar Named Desire’ (3rd review)	January 24 2009
Streetcar remains a magical piece of theater. But it needs a vulnerable heroine with whom we can empathize. Susan Riley Stevens as Blanche was so robust that she had the audience rooting against her. 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.
Peggy Lee and ‘Fever’ at the Prince	January 24 2009
Fever is a smart pairing of a tribute to the late Peggy Lee and a career retrospective for the 82-year-old jazz pianist/singer Buddy Greco. Other shows trade in nostalgia, but this one possesses a rare authenticity. Not only are all the songs from an earlier era, but so are Greco’s arrangements. Fever! The Music of Miss Peggy Lee. January 15-18, 2009 at Prince Music Theater, 1412 Chestnut St. (215) 569-9700 or www.fevertribute.com.
Foggy media memories	January 24 2009
Considering all the common points between politics and show biz, there’s no excuse when misinformation about music is fed by officials and regurgitated by uncritical media, as happened often during Obama’s inauguration festivities.
‘Damnation of Faust’ at the Met	December 14 2008
Berlioz wrote The Damnation of Faust in 1846 as a concert opera. The Met’s new production is a multi-media extravaganza marked by striking imagery. The Damnation of Faust. Music by Hector Berlioz; directed by Robert Lepage; James Levine, conductor. November 7-December 4, 2008 at Metropolitan Opera, Lincoln Center, New York. www.metoperafamily.org.
‘It’s a Wonderful Life,’ at the Prince	December 14 2008
It’s a Wonderful Life, an exercise in postwar nostalgia set in a radio station, is a pleasant holiday diversion. It could have been more, even without Jimmy Stewart. It’s a Wonderful Life. By Joe Landry; directed by Barry McNabb. Through December 21, 2008 at Prince Music Theater, 1412 Chestnut St. (215) 569-9700 or www.princemusictheater.org.
‘Dr. Atomic’ on video	November 11 2008
I have just seen the telecast of the Metropolitan Opera’s Doctor Atomic, which gives the opera a different perspective than what I saw in an earlier live performance at the Met. I now feel greater admiration for the opera’s high spots but also greater annoyance with its shortcomings. Doctor Atomic. Opera by John Adams; libretto by Peter Sellars. Alan Gilbert, conductor. Metropolitan Opera production through November 13, 2008 at Lincoln Center, New York. Film version shown November 8, 2008. www.metropolitanopera.org.
Obama: The guilt-by-association ploy	November 08 2008
Campaign attempts to link Obama to William Ayers, Jeremiah Wright and Zbigniew Brzezinski beg a larger question: So what? Why should we worry if a candidate "pals around with" former terrorists or critics of Israel?
James Conlon conducts Philadelphia Orchestra	November 02 2008
James Conlon has long championed the forgotten generation of composers who were silenced by the Nazis, most of them because they were Jewish. His podium manner Friday was colloquial, comprehensive and not at all intimidating. Why isn’t he being considered for the Philadelphia Orchestra’s music director? Philadelphia Orchestra: Beethoven Schreker, Zemlinsky. James Conlon, conductor; Mary Dunleavy, soprano; Rodrick Dixon, tenor. October 30-31, 2008 at Verizon Hall, Kimmel Center. (215) 893.1900 or www.philadelphiaorchestra.org.
‘Unusual Acts of Devotion’ at PTC	November 02 2008
Terrence McNally’s newest play about five residents of a Greenwich Village apartment building is often engrossing and moving but fails to meet McNally’s usual high standards. His characters' monologues and dialogues are spoken, too often, in the voice of McNally himself. 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.
Metropolitan Opera’s ‘Doctor Atomic’	October 25 2008
Doctor Atomic, the new opera at the Met, is as accurate a documentary about the invention of the atomic bomb as Oliver Stone’s film JFK is about the Kennedy assassination. Which is to say, it is not, as I can attest from conversations with the scientists themselves. Doctor Atomic. Opera by John Adams; libretto by Peter Sellars. Alan Gilbert, conductor. Metropolitan Opera production through November 13, 2008 at Lincoln Center, New York. Live version shown November 8, 2008 at AMC Plymouth Meeting Mall, UA King of Prussia Stadium 16, Ritz Center (Voorhees, N.J.) and AMC Neshaminy 24 (Bensalem). www.metropolitanopera.org.
Orchestra’s ‘Roméo et Juliette’	October 19 2008
Charles Dutoit, beginning his tenure as the Philadelphia Orchestra’s chief conductor, says he wants to survey Berlioz’s orchestral and vocal music during the next few years. Roméo et Juliette proved a good place to start. Roméo et Juliette. By Hector Berlioz. Philadelphia Orchestra, Charles Dutoit, conductor. October 16-21, 2008 at Verizon Hall, Kimmel Center. (215) 893-1900 or www.philorch.org/performance/5478/2008/10/21.
Opera Company’s ‘Fidelio’ (2nd review)	October 14 2008
Beethoven’s Fidelio, like his Ninth Symphony, is a triumphal ode to freedom and love. This production does the piece proud. Fidelio. By Ludwig van Beethoven; directed by Robert Driver. Opera Company of Philadelphia production through October 24, 2008 at Academy of Music, Broad and Locust Sts.  (215) 732-8400 or www.operaphilly.com.
Jonathan Larson and ‘Rent’	October 05 2008
Jonathan Larson’s Rent— a musical based on Puccini’s La Bohème and set in New York’s East Village— has finished its Broadway run but continues to tour. But what of its creator, who died before Rent took off? Rent continues to tour and will visit Philadelphia’s Academy of Music, February 3 through 8, 2009. (215) 893-1999 or www.kimmelcenter.org.
New York Philharmonic at Verizon	October 05 2008
Lorin Maazel’s tenure at the New York Philharmonic may be winding down, but Friday’s all-Tchaikovsky program displayed his expressiveness and emotionalism as well as his cultivation of beautiful sound. New York Philharmonic: All-Tchaikovsky program. Lorin Maazel, conductor. October 3, 2008 at Verizon Hall, Kimmel Center. (215) 893-1999 or www.kimmelcenter.org.
The vice presidential debate (2nd review)	October 05 2008
Sarah Palin’s debate strategy and her execution of it were quite sophisticated and carefully orchestrated. That “Can I call you Joe?” greeting, for example, was a mater stroke of manipulation.
Center City Opera’s ‘ConNEXTions’ (2nd review)	September 21 2008
Center City Opera Theatre performed parts of three new operas at the recent Philadelphia Fringe Festival. It’s an estimable service, but I wonder whether these works stand a chance for future performances. “ConNEXTions.” The Golden Gate: music by Conrad Cummings. Fade: music by Stefan Weisman, libretto by David Cote. The Hunger Art: music by Jeff Myers, libretto by Royce Vavrek. Center City Opera Theater production through September 14, 2008 at Ethical Society, 1906 S. Rittenhouse Square. http://www.livearts-fringe.org/2008/details.cfm?id=5345
‘Candide’ at the Arden	September 21 2008
In this latest version of Leonard Bernstein’s 52-year-old musical, Terrence Nolen has surpassed himself, bringing cogency and resonant tone to a very difficult play. It’s the most convincing Candide I’ve ever seen. Candide. Royal National Theatre version. Music by Leonard Bernstein; book adapted from Voltaire by Hugh Wheeler ; new version by John Caird; directed by Terrence J. Nolen . Through October 19, 2008 at Arden Theater, 40 N. Second St. (215) 922-1122 or www.ardentheatre.org.
‘Melting Bridge’ by Thaddeus Phillips	September 16 2008
Thaddeus Phillips’s broad worldview is again on display in The Melting Bridge. But this play lacks his feel for American life that was such a strong presence in last year’s Flamingo/Winnebago. The Melting Bridge. By Thaddeus Phillips. World premiere by Lucidity Suitcase Intercontinental, September 10-13, 2008 at Plays & Players, 1710 Delancey Pl. www.pafringe.com/details.
EgoPo’s ‘Woyzeck’	September 13 2008
Georg Büchner’s Woyzeck is a forerunner of the Expressionist movement that stressed emotion above exposition. EgoPo’s intensely sexual and violent production goes far beyond mere historical re-examination and leaves a lasting, disturbing impression. Woyzeck. Drama by Georg Büchner; translated by Nicholas Rudall; directed by Brenna Geffers. Presented by EgoPo through September 26, 2008 at German Society of Pennsylvania, 611 Spring Garden St. (
Sarah Palin as the new Nixon	September 09 2008
So far, Sarah Palin's vice presidential candidacy reminds me of Richard Nixon's in 1952. And she could be even more electorally potent.
Fringe Festival: ‘Widow’s Blind Date’ (2nd r	September 09 2008
Two working-class Boston buddies are contacted by an old female schoolmate who married well. What does she want with these lugs? Her agenda is obvious, and so are the mechanics of Israel Horovitz’s play. The Widow’s Blind Date. By Israel Horovitz; produced by Green Light Productions. Through Sept. 13 at Walnut Street Theatre Independence Studio on 3, 825 Walnut St. (215) 413-1318 or Nichole Canuso’s ‘Wandering Alice’		September 02 2008
Normally, I dislike performances that ask the audience to join in. With Wandering Alice, we never feel manipulated or imposed-upon. Rather, we feel liberated. Wandering Alice. Written, directed and choreographed by Nichole Canuso with Suli Holum. Nichole Canuso Dance Company presentation through September 13, 2008 at Christ Church Neighborhood House, 20 N. American St. (215) 413-1318 or www.livearts-fringe.org
Fringe’s New Deal walking tour	September 02 2008
The Fringe Festival claims to be about openness to new ideas that erase the artificial lines that separate art, theater, dance and community. I took a chance and was rewarded with an enlightening tour of Depression-era Queen Village and Bella Vista. ActivisTour.  Through September 9, 2008, conducted by  Design For Social Impact, 525 S. Fourth St. (215) 413-1318 or www.livearts-fringe
Theatre Horizon’s ‘Working’	August 31 2008
Working is a problematic musical that lacks the power of the original Studs Terkel book. Theatre Horizon has updated it with material from Philadelphia's current-day suburbs, which helps, but not enough. Working. Music by Stephen Schwartz; directed by Matthew Decker; based on the book by Studs Terkel. Theatre Horizon production July 2-27, 2008 at Upper Merion Middle School Auditorium, King of Prussia. (610) 283-2230 or ‘Spamalot’ at Academy of Music		August 31 2008
Spamalot is an unabashed rip-off of the Monty Python film. And this touring show seems more routine than the road show Philadelphians saw in this same house last season.  Monty Python’s Spamalot. Book by Eric Idle; directed by Mike Nichols. Through August 31, 2008 at Academy of Music. (215) 731-3333 or www.kimmelcenter.org/broadway.
‘Parenting 101’ at Kimmel’s Innovation Studi	August 31 2008
I have nothing against silly humor, but the musical Parenting 101 is not up to the standard of say, Urinetown. Parenting 101. Conceived by Nancy Holson and Susan Holson; directed and choreographed by Jay Falzone. Through November 30, 2008 at Innovation Studio at the Kimmel Center. (215) 731-3333 or www.kimmelcenter.org/broadway.
InterAct’s ‘House Divided’ (3rd review)	June 10 2008
House Divided is a well-crafted play about a Jewish-American family that has broken apart over religion, politics and the Jewish state. This is a rich area for exploration. I just wish it flowed more naturally. House Divided. By Larry Loebell; directed by Seth Rozin. InterAct Theatre Company production through June 22, 2008 at the Adrienne, mainstage, 2030 Sansom St. (215) 568-8079 or www.InterActTheatre.org
PTC’s ‘The Happiness lecture’ (2nd review)	June 10 2008
Bill Irwin’s The Happiness Lecture is an exhilarating experience— simultaneously a showcase for the comic actor’s extraordinary craft and a celebration of clowning with some excellent Philadelphia talent. The Happiness Lecture. Conceived and performed by Bill Irwin; world premiere by Philadelphia Theater Company Through June 22, 2008 at the Suzanne Roberts Theatre, 230 S. Broad St. (215) 895-0420 or ‘Les Miserables’ at the Walnut (2nd review)		June 03 2008
This Walnut production takes Les Miz seriously. Director Mark Clements relishes its emotional scenes, and his actors dig into them with commitment. 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, 825 Walnut St., (215) 574-3550 or
‘Our Town’ at the Arden (4th review)	May 31 2008
Our Town in Old City – the title used in the Arden Theatre’s advertising– is a celebration of community. It’s also a memorable theatrical experience, even more for its presentation than for the script itself. Our Town. By Thornton Wilder; directed by Terrence J. Nolen. Through June 22, 2008 at the Arden Theatre, 40 N. Second Street.  (215) 922-1122 or ardentheatre.org.
‘Pericles’ and ‘Romeo and Juliet’ (2nd rev	May 10 2008
By unearthing the neglected Pericles, the Philadelphia Shakespeare Festival has scored two notable achievements. The much more familiar Romeo and Juliet features an appealing pair of impetuous and excitable lovers. Pericles and Romeo and Juliet. By William Shakespeare; directed by Carmen Khan. In repertory through May 18, 2008, at Philadelphia Shakespeare Festival, 2111 Sansom St. (215) 496-8001 or  ‘Eurydice’ at the Wilma (1st review)		May 10 2008
In a spectacular production, the inventive playwright Sarah Ruhl transports her mythical characters across the River Styx into the land of the dead. She’s a dazzling sleight-of-hand magician, but her wacky suspensions of logic take some getting used to. Eurydice. By Sarah Ruhl; directed by Blanka Zizka. Through June 1, 2008 at Wilma Theater, 265 S. Broad St. (at Spruce). 215.546.7824 or www.wilmatheater.org.
Orchestra’s ‘Symphony of a Thousand’ (1st review)	May 03 2008
It’s time for someone to point out that the emperor has no clothes. Mahler’s massive and much-hyped Symphony of a Thousand is no masterpiece. There's a difference between magnitude and beauty. Philadelphia Orchestra: Mahler, Symphony of a Thousand (Eighth Symphony in E-Flat major). May 1-3, 2008 at Verizon Hall, Kimmel Center. (215) 893-1900 or www.philorch.org.
Theatre Exile’s ‘Bug’	May 03 2008
Grace Gonglewski— as an agitated victim, for a change—and Matt Saunders are spectacular in this effective rendition of a play meant to scare the pants off us. Bug. By Tracy Letts; directed by Matt Pfeiffer. Theatre Exile production through May 18, 2008 at Christ Church Neighborhood House, 20 N. American St. (near Second and Market). (215) 922-4462 or www.theatreexile.org.
Opera Company’s ‘Norma’ (1st review)	April 05 2008
It’s been a long time since any singer so dominated the stage at the Academy of Music. Even at this early stage in her development of the role of Norma, Christine Goerke compares favorably with the all-time greats. Norma. Opera by Vincenzo Bellini. Opera Co. of Philadelphia production conducted by Corrado Rovaris, directed by Kay Walker Castaldo. Through April 18, 2008 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or PTC’s ‘Third’ (2nd review)		March 29 2008
Facing death at 55, Wendy Wasserstein reconsidered some of her old certainties. Third, her last play, isn’t her best memorial. But it does contain its share of provocative and original creations.  Third. By Wendy Wasserstein; directed by Mary B. Robinson.  Philadelphia Theatre Co. production through April 20, 2008 at Suzanne Roberts Theatre, 480 S. Broad (at Lombard). (215) 985-0420 or Angela Meade’s Met debut		March 25 2008
It is 18 minutes after eight on Friday, March 21, and an audience of 3,500 sits in the Met awaiting one of the most difficult of all soprano arias. About to sing it is Angela Meade, a substitute artist making her Met debut with one day’s notice. Ernani. Opera by Giuseppe Verdi. Roberto Abbado, conuctor. March 21, 26, 29 at Metropolitan Opera, Lincoln Center, New York. (212) 362-6000 or www.metoperafamily.o
AVA’s ‘Kát'a Kabanová’	March 17 2008
The AVA’s production of Leos Janacek’s Kát'a Kabanová was a significant achievement, especially when you consider the obstacles. Kát'a Kabanová. Opera by Leos Janacek; directed by Blanka Zizka.  Academy of Vocal Arts production Feb. 22-March 1, 2008 at Helen Corning Warden Theater, 1920 Spruce St. (215) 735-1685 or www.avaopera.com.
Curtis Opera’s 'Ainadamar'	March 15 2008
Ainadamar, "the fountain of tears," is a beautiful piece of music. But you must come equipped with some prior knowledge of the life and times of the poet Federico Garcia Lorca and the Spanish Civil War.  Ainadamar. Opera by Osvaldo Golijov; libretto (in Spanish) by David Henry Hwang; directed by Chas Rader-Shieber; Corrado Rovaris, conductor. Curtis Opera Theatre production March 14-16, 2008 at Perelman Theater, Kimmel Center. (215) 893-1999 or
Curtis Opera’s 'Ainadamar'	March 15 2008
Ainadamar, "the fountain of tears," is a beautiful piece of music. But you must come equipped with some prior knowledge of the life and times of the poet Federico Garcia Lorca and the Spanish Civil War.  Ainadamar. Opera by Osvaldo Golijov; libretto by David Henry Hwang; directed by Chas Rader-Shieber; Corrado Rovaris, conductor. Curtis Opera Theatre production March 14-16, 2008 at Perelman Theater, Kimmel Center. (215) 893-1999 or EgoPo’s ‘Something Cloudy’ (2nd review)		March 04 2008
Something Cloudy, Something Clear is a dream-like memory play that was experimental for its time. Critics savaged it in 1981 and again during this revival. But pay attention. Williams still has something to tell us. Something Cloudy, Something Clear. By Tennessee Williams; directed by Brenna Geffers.  EgoPo production through March 22, 2008 at the Adrienne, 2030 Sansom St. (215) 552-8773 or      Opera Company’s ‘Cyrano’ (3rd review)		February 16 2008
David DiChiera’s Cyrano is a charming opera, with music that’s pleasantly melodic but not immediately memorable. Don’t expect a masterpiece and you’ll have a good time. Cyrano. Opera by David DiChiera (music) and Bernard Uzan (libretto). Opera Company of Philadelphia production through February 17, 2008 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or www.operaphilly.com.
InterAct Theatre’s ‘Black Gold’	February 16 2008
Seth Rozin’s political satire about a black Detroit homeowner who strikes oil in his back yard is less polemical and more playful than, say, the work of Bertolt Brecht. Rozin uses comedy to make serious points. Black Gold. Written and directed by Seth Rozin. InterAct Theatre Company production through February 24, 2008 at Adrienne Theatre,  2030 Sansom St. (215) 568-8079 or www.interacttheatre.org.
‘Whistle Down the Wind’ at Merriam	February 09 2008
There may be some merit in the idea of an escaped convict who is mistaken for Jesus Christ by a grief-stricken teenager who has just lost her mother. But not enough to carry a two-act musical. Whistle Down the Wind. Music by Andrew Lloyd Webber; book by Patricia Knop, Gale Edwards and Webber; lyrics by Jim Steinman. Through February 10, 2008 at Merriam Theatre, 250 S. Broad above Spruce St. (215) 336-1234 or www.thewhist
‘Avenue Q’ at the Forrest	February 05 2008
Avenue Q may be the most over-hyped show on Broadway and on the touring circuit. And if you never spent much time watching "Sesame Street," you’ll miss the point of many of the songs. Avenue Q. Music and lyrics by Robert Lopez and Jeff Marx; book by Jeff Witty. Through February 10, 2008 at the Forrest Theatre, 1114 Walnut St. (800) 432-7250 or www.forrest-theatre.com.
‘Wittenberg’ at the Arden (3rd review)	February 03 2008
In Wittenberg, playwright David Davalos serves up heaping portions of wit and cleverness but misses the chance to offer a serious drama about opposing forces. Wittenberg. By David Davalos; directed by J. R. Sullivan.  Through March 16, 2008 at Arden Theatre, 40 N. Second St. (212) 922-1122 or www.ardentheatre.org.
Higdon, Bernstein and the Orchestra (2nd review)	January 22 2008
What was Jennifer Higdon thinking when she wrote The Singing Rooms? For that matter, what was Leonard Bernstein thinking when he wrote Jeremiah? Philadelphia Orchestra: Bernstein Jeremiah Symphony, Schumann Second Symphony, Higdon The Singing Rooms. Christoph Eschenbach, conductor. January 17-19, 2008 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215.) 893-1900 or www.philorch.org.
‘Rain: The Beatles Experience’ (2nd review)	January 19 2008
The late lamented Beatles were introspective (or stoned) and fearful of crowds. These Beatles imitators are extroverted and determined to please the audience, which they certainly do. But what we have here is the louder sound that the public has become accustomed to since the Beatles disbanded. Rain: The Beatles Experience. Through January 20, 2008 at the Academy of Music, Broad and Locust Sts. (215) 893-1999 or www.kimmelcenter.org.
‘The Fantasticks’ at the Kimmel	January 15 2008
There must be a reason why The Fantasticks set records as the longest-running Broadway or Off-Broadway show of all time. Director Tony Braithwaite and his cast of relative newcomers try hard, but the material lets them down. The Fantasticks. Music by Harvey Schmidt; book and lyrics by Tom Jones; directed by Tony Braithwaite. Through February 24, 2008 at the Innovation Studio at the Kimmel Center. (215) 731-3333 or  Back to the '40s in Norristown (1st review)		December 18 2007
In a nightclub on December 31, 1943, an emcee gathers musicians and singers for one last show before they head off to war. This is a re-creation of what a live show was like on a New Year’s Eve in wartime, with a terrific cast and spectacular tap dancing and jitterbugging. Holiday Show at the Swing Club. Directed by Matt Decker.  Through December 31, 2007 at the Centre Theatre, 208 DeKalb St., Norristown, Pa. (610) 283-2230 or Wilma’s ‘Age of Arousal’ (1st review)		December 15 2007
Like Tom Stoppard, playwright Linda Griffiths tells her story through the highly verbal interaction of individuals whose lives intersect the great issues of their time. The subject of Age of Arousal is sexuality, to be sure. Blanka Zizka’s staging and an excellent cast transcend what’s called for in the script. 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
EgoPo's 'Vieux Carré'	December 08 2007
In his revival of Tennessee Williams’s forgotten sequel to The Glass Menagerie, director Lane Savadove stresses physicality and intense emotion. That’s what makes this 30-year-old play jump out at us. Vieux Carré. Drama by Tennessee Williams; directed by Lane Savadove; musical director Daniel T. Peterson. EgoPo production through December 22, 2007 at Christ Church Neighborhood House, 20 N. American St. (215) 552-8773 or Frank Guarrera remembered		December 01 2007
Frank Guarrera, the baritone who died November 23 at the age of 83, spent 29 years with the Met. But he remained a loyal South Philadelphian.
‘Drowsy Chaperone’ at Academy	December 01 2007
The Drowsy Chaperone is more than just another Broadway Roaring ‘20s song-and-dance show. It’s original and clever in its own right. The Drowsy Chaperone. Music and lyrics by Lisa Lambert and Greg Morrison; directed and choreographed by Casey Nicholaw. November 27-December 2, 2007 at Academy of Music, Broad and Locust Sts. groups.telecharge.com.
AVA’s ‘Cosi fan tutte’	December 01 2007
Singing Fiordiligi in the new AVA production of Cosi fan tutte, Angela Meade exhibits plenty of spunk and much more. Hers is a great interpretation of Mozart’s most challenging role. And here an implausible story makes sense for the first time. Cosi fan tutte . Opera by W.A. Mozart.  Christofer Macatsoris, conductor; Damon Nestor Ploumis, director. Academy of Vocal Arts production through December 1, 2007 at three venues. (215) 735-1685 or
Orchestra’s 'Das Paradies und die Peri' (2nd rev	December 01 2007
The much-heralded Philadelphia premiere of Robert Schumann’s oratorio Paradise and the Peri is more than a curiosity but less than a masterpiece. It’s corny, but at least it’s tasty corn, with a stronger vocal cast than the Philadelphia Orchestra usually provides. Philadelphia Orchestra: Schumann, Das Paradies und die Peri. Simon Rattle, conductor; Heidi Grant Murphy, soprano; Christine Brandes, soprano, Bernarda Fink, mezzo-soprano; Mark Padmore,
Jewish basketball nostalgia	November 17 2007
There was a time when short, angry Jewish players dominated basketball. They came from South Philadelphia, and they were determined to make anti-Semites respect them. The First Basket. Film by David Vyorst. November 19, 2007 at Gershman YMHA, 401 S. Broad St. (215) 446-3033 or  www.pjff.org. Also available on video.
‘Being Alive’ at PTC (1st review)	November 03 2007
Billy Porter has created a serious amalgam of Shakespearean text, Sondheim songs and soul ambience, chronicling a man’s journey from birth to death. It is a major theatrical achievement, although not without some flaws. 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 ‘An Empty Plate’ at the Arden (2nd review)		October 22 2007
This feast of a script deserves a more cohesive production than it receives from the Arden. Such a colorful smorgasbord requires a quiet, unifying presentation. An Empty Plate in the Café du Grand Boeuf. By Michael Hollinger; directed by Whit MacLaughlin. Through December 9, 2007 at Arden Theater, 40 N. Second St. (212) 922-1122 or www.ardentheatre.org.
‘A Night in the Old Marketplace’ at the Prince	October 22 2007
This Russian-Jewish klezmer musical is an endeavor that I’d love to love. Preserving the literature of an earlier age is a worthy project; so is teaching cultural history to a new generation. But the finished product and muddled plot frustrated me. A Night in the Old Marketplace. Book & lyrics by Glen Berger, based on I.L. Peretz's 1906 Yiddish drama Bay Nakht Oyfn Altn Mark; music by Frank London. Conceived and directed by Alexandra Aron. Sept. 28-Oct. 21
Opera Company’s ‘Rigoletto’ (2nd review)	October 16 2007
The Metropolitan Opera tenor Matthew Polenzani is the biggest name the Opera Company of Philadelphia has cast recently. But his interpretation of the Duke of Mantua in Rigoletto is totally wrong for the character. Rigoletto. Music by Giuseppe Verdi; directed by Robert Driver. Opera Company of Philadelphia through Oct. 17, 2007 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or www.operaphilly.com
‘Countess Maritza’ by Concert Operetta Theater	October 13 2007
An unknown tenor and a forgotten operetta combined for a performance that knocked me out. Keep your eyes open for Cody Austin in the future. Countess Maritza, Operetta in three acts by Emmerich Kálmán. Original book and lyrics by Julius Brammer and Alfred Grünwald; English version by Nigel Douglas. James Batt, music director and piano. Concert Operetta Theater production October 6 -7, 2007 at Helen Warden Theater, 1920 Spruce St. (215) 389-0
‘Countess Maritza’ by Concert Operetta Theater	October 13 2007
An unknown tenor and a forgotten operetta combined for a performance that knocked me out. Keep your eyes open for Cody Austin in the future. Countess Maritza, Operetta in three acts by Emmerich Kálmán. Original book and lyrics by Julius Brammer and Alfred Grünwald; English version by Nigel Douglas. James Batt, music director and piano. Concert Operetta Theater production October 6 -7, 2007 at Helen Warden Theater, 1920 Spruce St. (215) 389-0
Barrymore Awards problems	October 06 2007
The annual Barrymore Awards program is the Philadelphia theater community’s showcase to the world. So why was it held in a dining room where the drinkers at the bar drowned out the presenters on stage?
Barrymore Awards problems	October 06 2007
The annual Barrymore Awards program is the Philadelphia theater community’s to the world. So why was it held in a dining room where the drinkers at the bar drowned out the presenters on stage?
Pig Iron’s ‘Isabella’ (2nd review)	September 29 2007
Pig Iron Theatre’s Isabella is a gripping theatrical event, one of the most exciting plays of the past few years. Most critics have missed its ingenious faithfulness to Measure For Measure. Shakespeare’s dark comedy was set in Vienna; Isabella is set in a morgue; but ultimately their subjects— lust, death and the abuse of authority— are the same. Isabella. Pig Iron Theatre Company production through September 15, 2007 at Ic
‘Wandering Alice’ at Fringe Festival.	September 25 2007
This fantasy trip with dance and music, based on Alice in Wonderland, received a single tryout performance at the 2007 Fringe Festival. It’s imaginative, superbly executed and blissfully illogical. Wandering Alice. Choreographer and director: Nichole Canuso. Writer/Co-Director: Suli Holum. Sound Design/Music Composition: James Sugg and Mike Kiley. Nichole Canuso Dance Company production, Septem
‘Flamingo/Winnebago’ at Fringe Festival	September 25 2007
A gas station owner and a hitchhiker head for Las Vegas in a quest to discover America. It’s an ambitious creation by playwright/director Thaddeus Phillips, but the drama doesn’t really start until they reach their destination. Judicious pruning would help this otherwise compelling production. Flamingo/Winnebago. Written and directed by Thaddeus Phillips. Lucidity Suitcase production August 30-September 8, 2007 at The Painted Bride, 230 Vine St., Philadelphia, a
‘Assassins’ at the Arden	September 21 2007
Sondheim’s musical about presidential assassins is a tough sell to theater audiences. But Terrence Nolen’s production at the Arden achieves the near impossible: a good balance between spookiness, humor and a serious look at the American Dream. Assassins. Music and lyrics by Stephen Sondheim; book by John Weidman. Directed by Terrence J. Nolen; music directed by Eric Ebbenga. Through October 21, 2007 at Arden Theatre, 40 N. Second St. (215) 922-1122 or Fringe Festival 2007		September 21 2007
A year ago I wrote a negative critique of the Philly Fringe Festival. I do not take back a word of that article. But this year, unlike last, some of the 1,500 participating artists were talented and serious professionals investing enough effort in their work to succeed in the marketplace. Live/Arts/Philadelphia Fringe Festival. Sept. 1-18, 2007.
'Wicked’ at the Academy of Music	August 07 2007
Visually, this Wicked far outclasses what one normally sees outside of Manhattan. For a road production, it displays a rare look of luxury and permanence, and the lead roles are sung and played by two excellent performers, Victoria Matlock and Christina DeCicco, who even surpass the original cast in some ways. Wicked. Words and music by Stephen Schwartz; book by Winnie Holzman. Through September 9, 2007 at Academy of Music, Broad and Locust Sts. (215) 893-1999 or
Gay Theatre Festival’s ‘Heart and Music’	June 30 2007
The composer lyricist William Finn has broken fresh ground on both gay and Jewish themes. Why, then, has he been embraced by gay audiences but not by Jewish theatergoers? Heart and Music. Philadelphia Gay and Lesbian Theatre Festival production through June 29, 2007 at the Arden Theater, 40 N. Second St. 215-922-1122 or www.philagaylesbiantheatrefest.org.
InterAct’s ‘Skin in Flames’ (2nd review)	June 26 2007
Which is worse: Graphic nudity and sex acts on stage, or squeamishness about graphic nudity and sex acts on stage? InterAct’s Skin in Flames tried to have it both ways. Skin in Flames. By Guillem Clua; directed Seth Rozin.  Through June 24, 2007 at InterAct Theatre, 2030 Sansom St. (215) 568-8079 or www.interactheatre.org.
‘Camelot’ at the Merriam	June 20 2007
The new touring production of Camelot is a half-hour shorter than the original and offers a revised book by Alan Jay Lerner’s son. It also boasts some fine performances, including one by an understudy. Whether it’s an improvement on the original— or whether the original was that good to begin with— is another question. Camelot. Music by Frederick Loewe; libretto by Alan Jay Lerner. Touring production closed June 10, 2007 at the Merriam Theatr
‘Jamaica’ revived at the Prince	July 03 2008
The 1957 Harold Arlen-Yip Harburg musical Jamaica was a potentially rich broth spoiled by two many meddlesome cooks. The Prince Music Theatre has nobly attempted to capture the creators’ original vision. But maybe Jamaica was fatally flawed to begin with. Jamaica. Music by Harold Arlen; lyrics by Yip Harburg. Through June 22, 2008 at Prince Music Theater, 1412 Chestnut St. (215) 569-9700 or Center City Opera’s ‘Dorian Gray’ (1st review)		June 11 2007
Lowell Liebermann’s opera based on Oscar Wilde’s story gets much needed traction in this chamber orchestra version. Liebermann’s music is audience-friendly; his instrumentation is modern but the tonality is conservative, which is a logical choice for a story set in Victorian times. The Picture of Dorian Gray. Opera by Lowell Liebermann; directed by Leland Kimball. Presented through June 12, 2007 by Center City Opera Theater at the Perelman Theater, Kimmel
‘Hair’ at the Prince	June 06 2007
It’s hard to recapture the anti-war feelings of the 1960s, but the Prince Music Theater’s 40th enthusiastic anniversary revival of Hair helps show today’s younger generation what the fuss was all about. Hair. Book and lyrics by Gerome Ragni and James Rado; music by Galt MacDermot; directed by Tom O’Horgan. Through June 17, 2007 at Prince Music Theater, 1412 Chestnut St. (215) 569-9700 or
‘The Four of Us’ by 1812 Productions	June 05 2007
This two-character comedy about how jealousy can poison an imperfect friendship is leaner than previous works by Tamar Moses but often dazzling nevertheless. The Four of Us. By Itamar Moses; directed by Pete Pryor. Presented by 1812 Productions through June 17, 2007 at St. Stephen’s Theatre, Tenth and Ludlow Sts. (215) 592-9560 or www.1812productions.org.
‘Carousel’ at Walnut (1st review)	May 26 2007
The Walnut Street Theatre’s new production of the Rodgers and Hammerstein classic is an excellent one, with even more solid casting and conducting than the last two presentations I saw in New York. 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.
‘Doubt’ at the Merriam	May 19 2007
The great Cherry Jones is at the top of her game. But she overwhelms the rest of the cast, and John Patrick Shanley’s contrived, manipulative drama of priests and nuns in 1964 deceptively equates the questioning of orthodoxy with child abuse. Doubt. By John Patrick Shanley. National touring production through May 20, 2007 at the Merriam Theatre, 250 S. Broad St. (215) 732-5446 or merriamtheater.org.
AVA's 'Manon'	May 15 2007
Massenet’s Manon is a tough assignment and consequently rarely performed. But the good work on stage and in the pit changed my negative feelings about this opera. Manon. Opera by Jules Massenet; Christofer Macatsoris conducting. Academy of Vocal Arts production April 27-May 12, 2007, at three locations. (215) 735-1685 or www.avaopera.com.
‘Orson’s Shadow’ at PTC (third review)	May 12 2007
As entertainment, Orson’s Shadow provides a fun evening for people with an interest in theater history and backstage gossip. But as drama, it falls short. Orson’s Shadow. By Austin Pendleton; James J. Christy directed.  Philadelphia Theatre Co. production through June 3, 2007 at Plays & Players, 1714 Delancey Street. (215) 985-0420 or www.phillytheatreco.com.
Opera Company’s ‘Falstaff’	May 05 2007
The least outstanding performance in this otherwise enjoyable production is that by the title character. Roberto de Candia's high, lean baritone and weak portrayal notwithstanding, Verdi’s opera is a masterpiece and this production a joy. Falstaff. By Giuseppe Verdi. Robert Driver, director; Corrado Rovaris, conductor. Opera Company of Philadelphia production through May 13, 2007 at Academy of Music, Broad and Locust Sts.  (215) 893-3600 or ‘Caroline, or Change’ at the Arden (second review)		March 31 2007
Tony Kushner’s Caroline, or Change may well be an even finer achievement than his Angels in America.  Angels dazzled with its panoramic sweep; Caroline impresses with its intimacy and understatement, its balanced presentation of differing sides in a social revolution, and its depiction of everyday life in a single small household. Caroline, or Change. Book and Lyrics by Tony Kushner; music by Jeanine Tesori; directed by Terrence
‘Spamalot’ at Academy of Music	March 23 2007
Without grounding in Monty Python humor, Eric Idle’s musical isn’t funny. But gradually, it wins over the skeptics. Spamalot. Through April 8, 2007 at Academy of Music, Broad and Locust St. 215-893-1999 or www.kimmelcenter.org.
AVA’s ’Vanessa’	March 18 2007
As a great American opera, Vanessa deserves to be overshadowed by Porgy and Bess. But AVA’s production offered outstanding voices, direction and piano accompaniment. Vanessa. By Samuel Barber and Gian Carlo Menotti. Presented February 23-27, 2007 by Academy of Vocal Arts at Helen Corning Warden Theater, 1920 Spruce St. (215) 735-1685  or www.avaopera.com.
EgoPo’s 'Spring Awakening' (first review)	March 18 2007
Frank Wedekind’s raw drama about adolescence was too hot to handle a century ago and is rarely performed today. Now it’s receiving not one but two revivals. Spring Awakening. By Frank Wedekind; directed by Lane Savadove. Presented by EgoPo Productions through March 25, 2007 at Mainstage at the Adrienne, 2030 Sansom St. (215) 552-8773 or www.egopo.org.
OCP’s ‘Porgy and Bess’ (second review)	February 24 2007
I was excited to attend an uncut production of Porgy and Bess, until I attended it.  George Gershwin himself would have cut this version— and in fact he attempted to do so before his untimely death. Porgy and Bess. Music by George Gershwin; libretto by DuBose Heyward and Ira Gershwin; directed by Walter Dallas. Presented by Opera Company of Philadelphia through February 24, 2007 at Academy of Music, Broad & Locust Sts. (215) 893-3600 or Orchestra chooses Dutoit		February 24 2007
Charles Dutoit, the Philadelphia Orchestra’s choice as interim leader, may have antagonized his musicians and impulsively quit two conducting posts. But as I learned in the course of tangling with him, he’s also a dependable professional who’s capable of eliciting great performances. In short: The right man for an interim job.
Orchestra chooses Dutoit	February 24 2007
Charles Dutoit, the Philadelphia Orchestra’s choice as interim leader, may have antagonized his musicians and impulsively quit two conducting posts. But as I learned in the course of tangling with him, he’s also a dependable professional who’s capable of eliciting great performances. In short: The right man for an interim job.
‘Stormy Weather’ at the Prince	February 24 2007
Lena Horne’s saga is much more than a rags-to-riches success story. Add to this a hit parade of songs associated with Horne’s career and you have an evening that’s pleasurable and satisfying, except for the frustration of seeing Leslie Uggams on stage with few songs to sing. Stormy Weather: Imagining Lena Horne. By Sharleen Cohen Cooper; directed by Michael Bush. Through March 4, 2007 at Prince Music Theater, 1412 Chestnut St.,  (215) 569-9700 or
‘Nerds’ at PTC (second review)	February 17 2007
By sticking close to the truth, the playwrights have fashioned a bright satire about the rise of Bill Gates and Steve Jobs. The musical is full of snappy dialogue and only runs out of gas near the end. 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.
Jurowski conducts the Orchestra	February 17 2007
Vladimir Jurowski  emerged as an attractive candidate to succeed Christoph Eschenbach as the Philadelphia Orchestra's music director. We don’t know enough yet about his range. Still, everything I’ve heard from Jurowski sounds assured and attractive. Philadelphia Orchestra: Vladimir Jurowski conducting Rachmaninoff, Bruch and Stravinsky. David Kim, violin solo. February 2-9, 2007 at Verizon Hall, Broad and Spruce Sts. 215. 893.1900 or 'Pippin' at the Forrest (2nd review)		January 16 2007
Pippin is ferociously anti-war and condemns the leaders who invoke God as they send young men off to die. It’s as timely today as it was during the Vietnam-war era when it was written. I’d like to see a production that’s more realistic, but director Gabriel Barre emphasizes the circus and the surreal. Pippin. Words and music by Stephen Schwartz; directed by Gabriel Barre; choreography by Mark Dendy. Presented by Broadway at the Academy through Jan
Chita Rivera at the Merriam	January 12 2007
The singer-dancer Chita Rivera is one of the great figures of musical theater. But at 73, the star of West Side Story and Chicago demonstrates little of the fire that made her famous. Chita Rivera: A Dancer’s Life. By Terrence McNally. Through January 14, 2007, at Merriam Theater, 260 S. Broad St. (at Spruce). (215) 732-5997 or www.merriamtheater.org.
Prince Theater’s ‘Annie Get Your Gun’	December 23 2006
As a theater historian, I’m glad to see Irving Berlin’s original 1946 show virtually uncut, political correctness be damned. But for most attendees, some trimming would be welcome. Andrea McArdle and Jeff Coon are effective with the comic scenes but could put more tenderness into their ballads. Annie Get Your Gun. Music and lyrics by Irving Berlin; directed by Richard Parison Jr. Through Dec. 31, 2006 at Prince Music Theater, 1412 Chestnut St. 215-569-9700 or
OCP's 'Cinderella' (2nd review)	December 02 2006
Close your eyes and you’ll love the sound of this production. Open your eyes and you may not. Mostly, I liked it. The cast is one of the most even, most competent the OCP has presented in recent years. La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts.  215-893-3600 or OCP's 'Cinderella' (2nd review)		December 02 2006
Close your eyes and you’ll love the sound of this production. Open your eyes and you may not. Mostly, I liked it. The cast is one of the most even, most competent the OCP has presented in recent years. La Cenerentola (Cinderella). Opera by Gioacchino Rossini. Directed by Davide Livermore; conductor Corrado Rovaris. Opera Company of Philadelphia production through November 19, 2006, at Academy of Music, Broad and Locust Sts.  215-893-3600 or AVA’s ‘Barber of Seville’		December 02 2006
Some fine voices revive the ancient craft of vibrato. But does The Barber of Seville need a complicated exposition through unorthodox staging? Or does that clutter matters unnecessarily? Il Barbieri di Seviglia (The Barber of Seville). Opera by Gioacchino Rossini; directed by Kay Walker Castaldo. Academy of Vocal Arts production through December 2, 2006 at Centennial Hall (Haverford College) and Commerce Bank Arts Centre. 215 735-1685 or Barrymore Awards: A bush-league show		October 26 2006
The Barrymore Awards ostensibly honor the best of Philadelphia theater. But this year's Barrymore ceremony was an embarrassment. Countless spokesmen spent three and a half hours telling us that the Philly theater community is great. Won't they please shut up and show us what’s great? Barrymore Awards. October 23, 2006 at the Merriam Theatre, Broad above Spruce St.
Eschenbach bows out	October 23 2006
Christoph Eschenbach’s departure from the Philadelphia Orchestra, just five years after he arrived, reflects a planning deficiency reminiscent of the war in Iraq. It leaves the Orchestra’s board with the sort of succession headache it hasn’t suffered since 1912. The good news is: That crisis turned out very well indeed.
How to fix the Fringe Festival	September 28 2006
The Philadelphia Fringe Festival is growing, but many intelligent theater-lovers are puzzled and even intimidated by it— which is funny, when you consider that the festival was originally aimed at people who are intimidated by established theater.
Who can save Freedom Theatre?	February 01 2006
It's one of America's most illustrious African-American theater troupes. It's also a leading example of a creative arts organization that can't get its financial act together.