Reviews

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Soloists of the Metropolitan Opera (Philadelphia Chamber Music Society): The cream of the crop

Philadelphia Chamber Music Society imported a deep bench of talent from New York for its final Sunday afternoon recital of the season.

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FRONTERAS (Almanac): An Homage to Whatshername and A Door in the Desert

Almanac Dance Circus Theatre ceaselessly invigorates audiences’ minds through their strength and ability to shape space using acrobatic feats and movement.

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RE/ACTION (Pennsylvania Ballet): Brilliant ballet by divine dancers

The company has gone through drastic changes since last season, some of which may have come with sorrow. Still they never stopped their devotion to ballet and to the Philadelphia art community.

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PEACEABLE KINGDOM (Orbiter 3): Can we live in peace?

A remarkable play navigating the deep waters of philosophy and the shallow waters of adults wearing animal costumes.

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BUZZER (Theatre Exile): We wouldn’t come here if we didn’t live here

A provocative and dismaying story, conveyed through complex characters rather than through statistics and theories

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Inon Barnatan in recital (Philadelphia Chamber Music Society): Variation as the theme

Pianist Inon Barnatan stepped in for an ailing colleague, offering an exquisite and inventive recital that explored musical variations.

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SHUTTLEFISH (Eva Steinmetz): In the middle of the lake

It feels like when I’ve rowed out to the middle of a lake alone on a cloudy-still day and suddenly I realize I’m in the middle of the lake.

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[NYC] MOURNING BECOMES ELECTRA (Target Margin Theater): Getting closer to O’Neill

I feel like I know the value of experimental theater thanks to the folks at Target Margin.

Flamineo (Dan Hodge) and Cornelia (played by J.J VanName) have a fight. While Vittoria (Charlotte Northeast) seems to look up to the mother Flamineo despises her for his lack of wealth. As Flamineo and Zanche (played by Lexie Braverman) are fooling around, Flamineo urges the Duke to have his way with Vittoria. Sketch by Chuck Schultz.

THE WHITE DEVIL (PAC): A bloody good thriller

PAC gives the Jacobin the veneer of a mid-20th century hard-boiler. Sketches by Chuck Schultz.

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WHITE (Theatre Horizon): Representation matters

Playwright James Ijames offers a searing examination of the commodification of black experience.

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SPRING SERIES 2017 (BalletX): Intellectual and intriguing

Though different in color and mood, all three pieces are entertaining and intellectual.

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ASPEN SANTA FE BALLET (NextMove Dance): Flawless and vibrant

For the last program of the 2016-2017 season, NextMove Dance brings in Aspen Santa Fe Ballet to the Prince Theater, May 3-7.

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SWALLOW (Inis Nua): This Scottish play is a spot on reflection of America right now

A visceral, exquisitely written, three-person anxiety attack

Ying Fang as Susann, Layla Claire as Countess Almaviva and John Chest as Count Almaviva. Photo credit: Kelly & Massa for Opera Philadelphia

THE MARRIAGE OF FIGARO (Opera Philadelphia): Mozart at the Academy of Music

Opera Philadelphia’s new co-production of Mozart’s MARRIAGE OF FIGARO is fast, lively and a wonderful way to be introduced to opera.

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SANCTUARY (KUN-YANG LIN/DANCERS): Sanctuary for those who know pain

A reality that we need to face, think about, and talk about.

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THE PRISONER OF ZENDA (Hedgerow Theatre): 60-second review

A sense of familiarity permeates THE PRISONER OF ZENDA, Matt Tallman’s adaptation of Anthony Hope’s novel of intrigue, adventure, and mistaken identity

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PARROT TALK (Julius Ferraro): Like a sound wave begging to be heard

PARROT TALK follows a simple narrative arc of a woman dying on her way to the grocery store; however, nothing about her journey is linear.

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BLACK STEAM (Philadanco): A multitude of one

In celebration of it’s 47th year, PHILADANCO/The Philadelphia Dance Company presented BLACK STEAM, featuring two new works and two old ones.

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HEDWIG AND THE ANGRY INCH (Forrest Theater): She’s coming for you

They dusted off the rarely used Forrest Theater for this touring production of Hedwig and the Angry Inch, a twenty-year-old rock musical which was itself recently dusted off for a 2014 Broadway revival.