David Fox
In the most hectic and sometimes marvelous year of theater I’ve had in memory, Lady in the Dark at MasterVoices this weekend thrilled me most.
By David Fox
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It’s a wonderful idea to cast Bohème with young singers, and these delivered astonishingly assured, confident, mature performances.
By David Fox
The sexiest moment on Broadway this season features a 73-year-old man and a single button.
By David Fox
We owe director John Doyle and Classic Stage Company a debt of gratitude for bringing Blitzstein’s The Cradle Will Rock—warts and all—to the stage.
By David Fox
Frankly, I can’t imagine there’s a future for I Married an Angel.
By David Fox
Kiss Me Kate is a sophisticated soufflé of a show: a comedy of manners, requiring effortless verve and elegance in the playing.
By David Fox
I’ve never liked the term “crossover.”
By David Fox
It’s difficult to reconcile what Schlather writes with what we see onstage, which is a jumble not only of pianos, but of periods and concepts.
By David Fox
Così fan tutte, Mozart’s final Italian comedy with Lorenzo Da Ponte, is this season’s heaviest lift for Philadelphia’s Academy of Vocal Arts (AVA).
By David Fox
The Day Before Spring , while not exactly experimental, shows a young and adventurous team thinking both traditionally and out-of-the-box.
By David Fox
It may have taken 28 years to see Robert Carsen’s production of Britten’s A Midsummer Night’s Dream in the U. S., but it was worth waiting for.
By David Fox
Director Casey Hushion attempts to spice up Call Me Madam in ways that make it feel more than ever like an out-of-touch relic.
By David Fox
Academy of Vocal Arts’ Rusalka—surprisingly, only their second venture in many years into the Slavic repertoire—left a divided impression.
By David Fox
Yannick Nézet-Séguin’s “Music of Faith” with the Philadelphia Orchestra was a sensational concert, perhaps the best I’ve heard in more than a season.
By David Fox
Russian repertoire figures very centrally in AVA’s mission.
By David Fox
Philadelphia is a city famous for its musical institutions—so, of course, at this time of year Messiah performances abound.
By David Fox
In the Academy of Vocal Arts’s (AVA) clever pairing of two Puccini works, there was every reason to expect the fix was in.
By David Fox
It’s high time we see Funny Girl through a different lens.
By David Fox
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.
By David Fox
Opera Philadelphia’s O18 Festival continues through the weekend, but Friday represented a finale of sorts with the last two premieres.
By David Fox
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
By David Fox
Those who want a rethought Lucia to allow the heroine more sense of agency will be especially confounded at Laurent Pelly’s reading.
By David Fox
