Like many university art collections, St. Joseph’s is an eclectic one, but it now boasts an elegant new home in the former quarters of the Barnes Foundation. Gail Obenreder visits.

Azuka Theatre presents the world premiere of Christine Evans’s Galilee, which brings a personal dimension to the threat of climate change. Cameron Kelsall reviews.

1812’s The Play that Goes Wrong, onstage at Plays & Players, brings the hilarity when things go egregiously, deliriously bad. C.M. Crockford reviews.

Curtis Opera Theatre closes its season with an ambitious but underwhelming Handel rarity. Cameron Kelsall reviews.

As James Ijames’s Pulitzer-winning and Tony-nominated FAT HAM continues on Broadway, his latest world premiere, Abandon, gets a stand-out cast at Theatre Exile. Alaina Johns reviews.

David Amado and the Delaware Symphony closed the season with back-to-back Beethoven, a familiar yet thrilling performance to finish the maestro’s two-decade tenure. Gail Obenreder reviews.

A major joint exhibition, thanks to an unprecedented partnership between the African American Museum in Philadelphia and the Pennsylvania Academy of the Fine Arts, asks whether the sun is rising or setting on American democracy. Hanae Mason reviews.

Acclaimed artist Henry Taylor’s recent stint at FWM puts us adrift in a sea of new meanings, thanks to a partnership with the reuse experts at Recycled Artist in Residency. Pamela J. Forsythe reviews.

Opera Philadelphia’s new production of La Bohème reverses the order of the classic opera, beginning with tragedy and progressing toward love. Cameron Kelsall reviews.

Six international artists explore the mashrabiya, widely used throughout the Islamic world as cooling structures, or boundaries—between public and private life, men and women, women and visibility. Emily B. Schilling reviews.