Sparked by a 2011 social-media post about gentrification, the Wilma’s ‘Renaissance in the Belly of a Killer Whale’ forces you to listen. Hanae Mason reviews.

Mephisto’s battle for a good man’s soul still compels today, but a new Not So Silent Cinema score for Murnau’s ‘Faust,’ by Brendan Cooney and members of the Bismuth Quartet, highlights an enduring trauma. Aaron Pond reviews.

With the help of its Young Professionals cohort, Azuka’s ‘Ship’ delivers a funny story with a lot of heart. Josh Herren reviews.

Organ virtuoso Paul Jacobs returned to the Philadelphia Orchestra with Michael Daugherty’s ‘Once Upon a Castle,’ an exhilarating symphonie concertante written especially for him. Cameron Kelsall reviews.

The Crossing mixes it up to kick off #GLASSFEST, with the premiere of ‘Knee Plays,’ drawn from the music of Philip Glass and David Byrne. Gail Obenreder reviews.

Network for New Music’s ‘Musical Ecologies’ was right at home beside the birdfeeders at the Discovery Center. Margaret Darby reviews.

JCWK Dance Lab’s ‘HOMEbody’ explores the physical embodiment of home in an ambitious and inspiring new dance. Melissa Strong reviews.

‘Fakes, Forgeries, and Frauds,’ following the long life of swindles and controversies from Shakespeare to anti-vaxxers, doesn’t draw the sharp parallels that the topic deserves in today’s world. Michelle Nugent reviews.

A new exhibition at the Barnes shows how Marie Cuttoli enlisted the talents of some of the 20th century’s biggest artists to help revive and redefine the art of the French tapestry. Gary Day reviews.

Helen Frankenthaler, whose prints are enjoying simultaneous exhibitions at Arthur Ross and PAFA, said that a really good picture looks like it happened in one stroke. Pamela Forsythe reviews.