‘An Iliad,’ a didactic refashioning of Homer’s epic poem, receives a flat staging at the Arden’s Horan Studio Theatre. Cameron Kelsall reviews.

‘Visionary Voices,’ a portrait exhibition featuring four self-taught artists, invites viewers to find themselves and draw their own conclusions. Daralyse Lyons reviews.

Martin Scorsese’s most anticipated feature yet, The Irishman brings Philly mobster Frank Sheeran to the big screen and will be streaming in homes around the world by the end of the month. Raj Tawney considers.

Neil Feather’s wildly unique instruments surprise, delight, and make mischief in pieces including composer Rosie Langabeer’s latest work-in-progress, ‘IDIOSYNCROPHILIA.’ Aaron Pond reviews.

The Lantern’s impressively staged production of Anna Ziegler’s 'The Last Match' is funny, heartbreaking, and surprisingly relatable for even the least athletic among us. Jill Ivey reviews.

‘Love in Hate Nation,’ a joyously original riff on bad-girl movie tropes, continues the copacetic relationship of composer Joe Iconis and Two River Theater. Cameron Kelsall reviews.

Is style just something you recognize when you see it? Doug Varone and Dancers still have it in a special residency performance at Swarthmore, despite two decades of a changing ensemble. Merilyn Jackson reviews.

Theatre Horizon’s revival of Philadelphia favorite ‘The Hound of the Baskervilles’ provides lots of laughs, sharp acting, and clever design. Josh Herren reviews.

The first woman director of the National Gallery of Art has already been shaking up the field around the country. Kaywin Feldman offered a vision for museums of the future in a special lecture at Winterthur. Gail Obenreder was there.

The Walnut’s ‘Shrek The Musical’ is an all-around impressive production that turns the classic fairytale trope on its head to create a funky-fresh and current play for all ages to enjoy. Christina Anthony reviews.