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FIDDLER ON THE ROOF (Broadway tour at Academy of Music): An updated Fiddler

The thrill of a big show-biz production and the feeling of authenticity

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A dilettante at large reviews NE QUITTEZ PAS (Opera Philadelphia)

What a complicated evening, filled with gorgeous singing and roiled emotions and puzzling theatrics

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HAPGOOD (Lantern): Rising to the challenge of a gleefully complicated spy story

Hapgood is not just a spy story, it’s also a physics story

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THE ACCOUNTANT (Trey Lyford): 2018 Fringe review

Do the math. That’s what accountants do, right? The show is 75 minutes long. I looked at my watch about ten times, from which we can deduce by simple arithmetic…

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ECCENTRICITIES OF A NIGHTINGALE (Idiopathic Ridiculopathy Consortium): 2018 Fringe review

ECCENTRICITIES is lush, loquacious and very typical Tennessee Williams: lonely, sex-starved women, men struggling against overbearing mothers, desperation everywhere.

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MARY ROSE (Philadelphia Artists’ Collective): 2018 Fringe review

However crammed your Fringe calendar may be, don’t miss this one.

till from Wil-o-Wisp (Moiré Installation), 2018, by Rachel Rose (American, born 1986). Video installation with sound, double-lined mesh scrim, carpet, projection screen, and semi-transparent projection scrims. Jointly commissioned and owned by the Philadelphia Museum of Art and Fondazione Sandretto Re Rebaudengo. Funding is made possible for the Philadelphia Museum of Art through the Contemporary Art Revolving Fund. Image © 2018 Rachel Rose.

A Dilettante at Large reviews two new shows at the Philadelphia Museum of Art

Toby Zinman considers “Rachel Rose: Wil-o-Wisp/The Future Fields Commission” and “Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s”

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A Dilettante at Large: THE RESTAURANT SCHOOL AT WALNUT HILL COLLEGE

All this dilettanting around town can make a critic hungry

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OUR FEW AND EVIL DAYS (Inis Nua): Tantalizing ambiguity

This is difficult review to write since almost anything I’d say would be a spoiler. I can say this much: Go see it.

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A Dilettante at Large goes to Penn Museum

Toby Zinman gives her thoughts on the new Middle East galleries at the University of Pennsylvania Museum of Archaeology and Anthropology

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THE TEMPEST (Lantern): Sounds and sweet airs that give delight and hurt not

Lantern Theater’s production of THE TEMPEST, Shakespeare’s last play, is an enjoyable, modest show, full of comedy and romance and the gentle spirit of human forgiveness.

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A dilettante at large: LEONARD BERNSTEIN: THE POWER OF MUSIC (NMAJH)

If you’re a Leonard Bernstein fan, don’t miss the terrific new exhibit at the National Museum of American Jewish History.

Brenna Palughi as Alicia in Small Mouth Sounds_Photo by T Charles Erickson

SMALL MOUTH SOUNDS (Ars Nova/PTC): Hmmph

As far as I can tell, this is a satire, although you know you’re on shaky ground when you’re not sure if the play knows it’s a satire.

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A dilettante at large: A QUIET PLACE (Curtis Institute of Music)

The Curtis Institute of Music and Opera Philadelphia’s stunning production Leonard Bernstein’s opera, A Quiet Place, is one of many worldwide celebrations of his centennial;

Marc D. Donovan and Keith J. Conallen in A STEADY RAIN in Walnut Street Theatre's Independence Studio on 3. Photo by Mark Garvin

A STEADY RAIN (Walnut St): An intense and engrossing cop show

If you’re a fan of TV police procedurals this is the play for you.

The Boy (countertenor Anthony Roth Costanzo) in WRITTEN ON SKIN. Photos by Kelly & Massa for Opera Philadelphia.

A dilettante at large: WRITTEN ON SKIN (Opera Philadelphia)

Philadelphia’s premiere drama critic, Toby Zinman knows her theater. Opera, not so much. Here’s her dilettante review of Opera Philadelphia’s WRITTEN ON SKIN.

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REALLY (Theatre Exile): Camera obscura

Discomfort is the name of the game here, but to what purpose?

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SENSITIVE GUYS (InterAct): Satirizing the dialectic of sex

What’s being satirized in this social satire? Good question, with several answers.

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TWO GENTLEMEN OF VERONA (EgoPo): High-spirited and delightfully messy

This musical theater version of Shakespeare’s Two Gentlemen of Verona, launches EgoPo’s season as a cabaret/fundraiser.

Daniel Barland in BROKEN STONES at InterAct Theatre. Photo by Kathryn Raines

BROKEN STONES (InterAct): Searching through the meta rubble

What better theatrical vehicle for cynicism than “meta”: how many ways can the playwright fool an audience?