Revisiting Annie Baker’s new play confirmed some of my impressions and changed others.
Martin Sherman’s play is both a sweet romance—and a platform for Harvey Fierstein to shine.
On her upcoming appearance here with Seth Rudetsky, her performing history in Philadelphia, and (surprise!) … how polite the locals are.
Jacqueline Goldfinger’s spellbinding new play honors centuries of theater in a voice that is distinctly her own.
There’s considerable accomplishment and comic virtuosity here in Marc Camoletti’s farce.
A fine cast, expert conducting, and beautiful designs are hallmarks of Opera Philadelphia’s production.
One of the three plot strands in Stef Smith’s sincere play is for the ages.
There are many wonderful things in Annie Baker’s new play, but it loses its way.
John Guare’s still-wonderful play deserves better than Trip Cullman’s glossy, shallow revival.
This amped-up version has its own rewards—especially in the marvelous Euan Morton.