The new Tudor sensation is finally in Philly, as the national tour of SIX lands at the Academy of Music. Is it “a women’s show”? And what does that really mean? Alaina Johns reviews.

Three years into the coronavirus pandemic, Curio Theatre Company’s production of The Complete Deaths shows us that sometimes death can be a laughing matter. Jill Ivey reviews.

Three artists with roots in Pakistan, the Philippines, and Iran, offer reality checks on the stories we’re told in a powerful mixed-media exhibition at Twelve Gates Arts in Old City. Emily B. Schilling reviews.

Carolyn Lazard examines accessibility, care, and interdependence, with an interdisciplinary installation at ICA that de-emphasizes sight in favor of many other senses. Hanae Mason reviews.

This new exhibition studies the way Andrew Wyeth saw his favorite buildings, honoring the artist’s abstract work, as well as the better-known representational. Gail Obenreder reviews.

A painting by Gustave Courbet, a fascinating 19th-century French artist, was lost in a Philly basement for decades. Now it gets its due at Arthur Ross Gallery. Emily B. Schilling reviews.

Kun-Yang Lin/Dancers celebrated its 25th anniversary with two world premieres by company artists, and four reimagined works by the founder, linking past, present, and future. Melissa Strong reviews.

House of Photographs is a visual treasure that wraps visitors in the collectors' point of view, ranging from a microscope to a Brooklyn sidewalk, from French gardens to Chinese arbors to outer space. Pamela J. Forsythe reviews.

Brian Friel tackles the Russian master in The Bear and Afterplay, the latest double bill from Irish Heritage Theatre. Cameron Kelsall reviews.

Quintessence Theatre Group combines creative casting, minimalistic design, and a whole lot of masks for its ambitious production of Shakespeare’s The Tempest. Jill Ivey reviews.