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Chris Squire in Columbia, South Carolina, 1974. (Photo by Hunter Desportes via Creative Commons/Flickr)

Three things I learned from Yes

We craved rhythms that would pound in a chest where we hoped was a heart, and, oh, we wished for melodies that would soar above the cracking ruins of an imagined world. We wanted Yes, and then Yes came, and Yes was ours.

Kile Smith

Jul 21, 2015 Articles 5 minute read

Peck watching dancers rehearse. (© 2014 - Magnolia Pictures)

'Ballet 422' by Jody Lee Lipes

A dance documentary that takes the cake

Ballet 422 is a tease, offering insight into the how, but not the what, of a new ballet.

Tara Lynn Johnson

Jul 21, 2015 Articles 2 minute read

“All beauty turns ugly”: Walton, O’Hanlon-Rodriguez, Anthony. (Photo by John Flak)

'Lulu’s Golden Shoes' by Quiara Alegría Hudes

If a whore screams does she make a sound?

What is it like for a young girl growing up in the barrio when her role models are whores and abused women? Can she change the plot that’s been written for her and become the superhero of her own story?

Naomi Orwin

Jul 21, 2015 Articles 4 minute read

Charles Dubow's 'Girl in the Moonlight'

Obsession as a lifelong project

Obsession, even if recognized, is rarely controlled and often involves a blind spot.

Rick Soisson

Jul 21, 2015 Articles 3 minute read

Navigating tricky territory: Palughi and Thorn in “World Builders.” (Photo by Seth Freeman)

2015 Contemporary American Theater Festival

Where new plays thrive

A professional company that only produces new plays celebrates its 25th year with an ambitious but uneven quintet of plays.

Mark Cofta

Jul 21, 2015 Articles 6 minute read

Gravity vs. freedom: Andrea Yorita and Gary W. Jeter II in “Risk of Flight.” (photo by Alexander Iziliaev)

BalletX Summer Series 2015

Entering the talented tenth (year)

The risk of turning its summer performance over to a single choreographer — frequent collaborator Adam Hougland — definitely paid off for BalletX.

Lisa Traiger

Jul 19, 2015 Articles 3 minute read

Hey — I’ve heard of him. Lang Lang and Katharine McPhee. (Photo by Chad J. McNeeley, USN; public domain)

The pianist as collaborator

Musical collaborations can be intimate experiences. Like other intimate experiences, the result is ultimately more satisfying with give and take, and respect — the kind of respect that at least mentions your name and lets your face show up for a moment if you're performing with someone on YouTube.

Maria Thompson Corley

Jul 19, 2015 Articles 4 minute read

Erté's Art Deco take on the Queen of the Night.

Delaware Valley Opera Company's 'Magic Flute'

A steampunk night at the opera

You don’t have to be a fan of opera or classical music to have a great time at the Delaware Valley Opera Company’s low-budget but thoroughly charming production of Mozart’s Magic Flute, in which opera meets vaudeville for an evening of fun.

Michael J. Miller

Jul 18, 2015 Articles 2 minute read

Philadelphia's Mural Arts Program and the representation of reality

The marks on the walls

I’m not interested in questioning whether the murals are art or evaluating whether the murals are good or bad; I'm interested in how these murals function as art.

Treacy Ziegler

Jul 14, 2015 Articles 5 minute read

Staying in the moment: Schier (center top) and castmates in “The Tempest.” (photo by Andrew Hazeltine)

Kristen Schier on the Commonwealth Classic 'Tempest'

Shakespeare and improv: The perfect match?

Shakespeare, often viewed by the general public as the most sacred, highfalutin form of drama we have, is also possibly our richest and even most necessary ground for improvisation. Kristen Schier explains why.

Alaina Johns