A performance made for pandemic, ‘The Way Out’ took audiences on a drive-in journey through music, movement, theater, and glassblowing at Laurel Hill Cemetery. Melissa Strong reviews.

Mezzo-soprano Maren Montalbano has long shared steamy stories with her castmates, and now she’s bringing them to your living room in ‘The Bodice Ripper Project’ for this year’s Fringe. Jill Ivey reviews.

A scaled-down Philadelphia Orchestra’s 2020 opener offered a distanced yet defiant celebration of music and new energy for social justice, with works by Coleman, Rossini, Verdi, Mozart, and Steve Martin. Linda Holt reviews.

In TONGUE’s Fringe Festival entry, ‘Currency,’ we borrow the five stages of grief to explore capitalism. Corey Qureshi reviews.

With ‘The Days of Re-Creation,’ Philadelphia Theatre Company presents seven short plays that reinterpret the Book of Genesis in the best use of Zoom you’ve ever seen. Mina Reinckens reviews.

South Africa’s Kangaroo Zulu Dancers joined this year’s Philly Fringe with ‘Indlamu,’ a performance captured on video that reminds us some dance doesn’t need a stage. Lindsay Gary reviews.

For this year’s Free Fringe, Greg T. Nanni offers a one-man show about the weight we carry. Josh Herren reviews.

Despite its promising music and lyrics, the digital world premiere production ‘Crossover’ is failed by the virtual reality of 2020. Jill Ivey reviews.

Two performances explore dance during pandemic for the 2020 Fringe Festival. Artist House/Asya Zlatina + Dancers and stb x at offer different experiences combining movement, technology, and collaboration in innovative ways. Melissa Strong reviews.

Allens Lane’s ‘Eurydice’ explores themes of isolation and heartbreak in a way that feels familiar in a world marked by COVID-19. Mina Reinckens reviews.