Piffaro celebrates the season by treating audiences to Christmas in Southern Germany, an uplifting and accessible multi-instrumental deep dive into sacred works of the 16th and 17th century. Gail Obenreder reviews.

PHILADANCO! honors late resident choreographer Gene Hill Sagan in a program also including two company premieres and two world premieres featuring returning and new choreographers. Melissa Strong reviews.

As an American-style panto, this ebullient, exceptional production of Peter and the Starcatcher from Delaware Theatre Company is a welcome respite from endless Christmas Carols. Gail Obenreder reviews.

Philly live music lovers should hurry to a new special exhibition at Drexel University spotlighting the history of the Electric Factory, including iconic guitars, a Rock-Ola jukebox, and tons of memorabilia. Pamela J. Forsythe reviews.

Sondheim still abounds despite his recent passing, and the new tour of Company takes a gender swap to the 1970 story, with uneven results that nevertheless keep the joy of the show alive. Kiran Pandey reviews.

Star, director, co-writer, and co-producer Bradley Cooper’s Maestro, the new Netflix biopic on Leonard Bernstein, has important connections to Philadelphia’s creative life and music. Victor L. Schermer reviews.

A Philly tradition since 2006, This Is the Week That Is attempts to wring mirth from the news, but this year’s iteration ranges from offensive to baffling. Emily Schilling reviews.

Fat Ham comes home in this new production at the Wilma, onstage as it was meant to be, after the company debuted a filmed version in 2021. Everyone is welcome to the cookout. Hanae Mason reviews.

In Quintessence Theatre Group’s December production of The Fantasticks, complex poetries meet deceptively simple story and design, honoring both youthful sparks and older gratitude. C.M. Crockford reviews.

The Delaware Art Museum has the biggest collection of British Pre-Raphaelite artworks outside the UK, and this exhibition, which opened at Tate Britain and now lands stateside, honors the radical Rossettis. Gail Obenreder reviews.