The Arden Theatre Company considers Stephen Sondheim’s Assassins through a chilling contemporary lens. Cameron Kelsall reviews.

Cannonball Festival presented two solo shows about sex workers: Ella-Gabriel Mason’s Sex Werque: Notes from the Field and Kaytlin Bailey’s Whore’s Eye View. Melissa Strong reviews.

Delaware Theatre Company opens the season with a bang of eight doors in the ever-popular, ever-challenging backstage farce Noises Off. Gail Obenreder reviews.

Delaware’s Resident Ensemble Players open its 15th season with Vita & Virginia, a chamber production exploring a historic intellectual and romantic affair in an era of letters. Gail Obenreder reviews.

Cannonball Festival presents two solo shows at the intersection of trans identity and circus arts, Toni Cannon’s ReFlection and Mae West’s $7 Girl. Melissa Strong reviews.

Festival O23’s world-premiere production of composer Rene Orth and librettist Hannah Moscovitch’s 10 Days in a Madhouse is fresh, urgent, and relevant. Alaina Johns reviews.

Opera Philadelphia’s Festival O23 features the Philly premiere of Grammy-winning Lebanese American tenor Karim Sulayman’s Unholy Wars, with artistic triumph in every detail. Gail Obenreder reviews.

For its Festival O23, Opera Philadelphia presents a standout production of Verdi’s tragic opera, Simon Boccanegra. Linda Holt reviews.

Waiting for Ganol, a Cannonball Festival show that took us into the backyard of a gender-reveal party with mounting problems, allowed us to make our own approach to the thoughtful story. Crystal Sparrow reviews.

Directorial bells and whistles impede the socialist message of George Bernard Shaw's Major Barbara at Quintessence Theatre Group. Cameron Kelsall reviews.