Reviews

Photo by Gerald Cyrus.

I HATE HAMLET: (Allens Lane): Theater on theater

Allens Lane Theater company, directed by Mariangela Saavedra offers an evening of community fun with I HATE HAMLET, a lighthearted comedy about theater’s favorite topic: theater. The piece was written…

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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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HOPE AND GRAVITY (1812 Productions): “Even the lightest things come crashing back down to earth.”

There are many good comedies out there, but not many where the weight of tragedy crests and wanes beneath the laughter.

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CARMEN (Opera Philadelphia): Color and excitement

nspired by by the resetting of their 2015 production of La Traviata, director Paul Curran and set/costume designer Gary McCann team up again to bring CARMEN to a nearer past, set in a beautiful Havana-esque 1950’s.

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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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SING THE BODY ELECTRIC (Theatre Exile): Electricity sparks and glows brightly, then sputters

Is there more still left in the playwright’s head that didn’t make it to the stage?

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The German Society of Pennsylvania presents their final Delius Society Concert

The Wister Quartet and Choral Arts Philadelphia gave their audience a rare chance to hear the Delius Songs of Sunset.

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ELLA: FIRST LADY OF SONG (Delaware Theatre Company): Channeling Ella Fitzgerald

Freda Payne does some lovely singing in ELLA: FIRST LADY OF SONG, a biographical tribute to Ella Fitzgerald

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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 WOMEN OF IRELAND (Irish Heritage Theater): Short Irish classics

From modern to historic, tragic to fantastic, THE WOMEN OF IRELAND views the feminine from many angles, creating a fleshed out sculpture of Irish life.

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GRACE & GRANDEUR (Pennsylvania Ballet): Ballet, in different eras

Pennsylvania Ballet’s fifth program of the current season is a historically intriguing.

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HUMAN RITES (InterAct): I say tomato, you say genital mutilation

HUMAN RITES succeeds as a vehicle to tackle such hot-topic themes as appropriation and intersectionality.

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NOISES OFF (Walnut St): Hi-jinks prevail

The chestnut sails in Frank Anzalone’s production of NOISES OFF at the Walnut Street Theatre, but not consistently.

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JULIUS CAESAR (Quintessence): Why must republics fall?

Quintessence Theatre Group explores the Shakespearean death throes of the Roman Republic.

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I WILL NOT GO GENTLY (People’s Light): Third time’s a charm

I’ve gone from a fan and admirer to an enthusiastic supporter of Jen Childs in I WILL NOT GO GENTLY.

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SCHOOL OF ROCK (National tour at the Academy of Music): Amiable mediocrity

Most things are destined to be average, even musicals that have managed to stay on Broadway for a couple of years.

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FROZEN (Isis Productions): Forgiveness, redemption, and moving on

Neill Hartley’s ensemble for FROZEN makes the most of all the emotion and thoughtfulness Bryony Lavery invests in his play of forgiveness, redemption, and moving on.

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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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Lahav Shani leads Philadelphia Orchestra with music by Lindberg, Stravinsky, and Prokofiev

Twenty-nine-year-old maestro Lahav Shani leads the Philadelphia Orchestra with a spotlight on trumpeter David Bilger