Cher Public

David Fox

Tales of the unexpected

In the Academy of Vocal Arts’s (AVA) clever pairing of two Puccini works, there was every reason to expect the fix was in.  Read more »

Hello again, Gorgeous!

Of the hit “Big Lady” musicals that proliferated on Broadway in the late 1950s and ‘60s—Gypsy, Hello, Dolly!, Funny Girl, and Mame—only Funny Girl has largely disappeared from view, except through its film version. Even Mame, probably the weakest of the group as a show—and still significantly associated with its creator, Angela Lansbury—has received a decent number of revivals with an intriguingly diverse collection of leading ladies.  Read more »

Trouble in paradise

Although Leonard Bernstein’s Trouble in Tahiti is always categorized as an opera, the piece certainly has one foot planted firmly in his jazzy musical-theater style.  Read more »

Glamour, reconceptualized

Opera Philadelphia’s O18 Festival continues through the weekend, but Friday represented a finale of sorts with the last two premieres.

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When queens preside

“Fricka is on fucking vacation.” 

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Dramatic A.R.C.

Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.

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Dark shadows

Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.

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Elle is other people

Soprano Patricia Racette is superb in La Voix Humaine, a work that she makes absolutely her own.

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