The Arden restages its popular adaptation of E. B. White’s Charlotte’s Web with a new cast sure to delight audiences of all ages. Krista Mar reviews.

Piffaro’s much-anticipated holiday concert invites us to Christmas in Renaissance Italy this year, and will be available to stream as a recording for those celebrating at home. Gail Obenreder reviews.

Since Gabrielle Kaplan-Mayer first reviewed Fiddler on the Roof in 2018, antisemitism has continued to rise, and this new production from the National Yiddish Theatre Folksbiene strikes just the right note for our historic moment.

An enigmatic exhibition at Penn’s ICA showcases an ever-present but often underappreciated perception: our sense of smell. Pamela J. Forsythe reviews.

In The Book of I.P., a poetry-and-essay chapbook collection, Philly native Chris Courtney Martin breaks from the strictures of Hollywood to craft a blazing manifesto of art on its own terms. Kiran Pandey reviews.

A Mary Poppins for the stage at Quintessence, based on the original stories by P. L. Travers and the 1964 film, marries a book by Julian Fellowes with the original Sherman Brothers music (plus some new songs). Gabrielle Kaplan-Mayer reviews.

Philly composer/guitarist Joshua Stamper’s new album, soma schema, with his color as time sextet, presents an hour of orchestral easy-listening-meets-jazz-fusion, perfect for cleaning your house to. Aaron Pond reviews.

BalletX returns to the Wilma with world premieres by Darrell Grand Moultrie and former BalletX dancer Caili Quan, along with the Philadelphia premiere of Become a Mountain by Justin Peck. Melissa Strong reviews.

A spectacular collection of work is on display at AAMP, including Gordon Parks, Faith Ringgold, and Carrie Mae Weems, thanks to an exhibition loan from Bank of America. Hanae Mason reviews.

What makes art American? PAFA explores this question in a major exhibition that spans 200 of our artistic years, debuting at home before a national tour. Gail Obenreder reviews.