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Costello (left) and Pérez: An improbable virgin.

OCP's high-fashion "Roméo et Juliette' (1st review)

Gounod goes Prada

Gounod's Roméo et Juliette, generally well sung in a noisy production originating in Italy, works best when the principals themselves hold the stage. Unfortunately, its visual elements too often pre-empt the music.
Robert Zaller

Robert Zaller

Articles 3 minute read
Duchamp's 'Nude Descending a Staircase': Odd placement.

The human form at Pennsylvania Academy

Beautiful bodies, yes. But sexy?

It's not easy to paint or sculpt the human body. Pennsylvania Academy's current shows illustrate the close interaction between art and science that occurred in Philadelphia since the Academy's founding in 1805.

Anne R. Fabbri

Articles 2 minute read
Kraus (left) and Gillespie: Emotional punch. (Photo: Christopher Duggan.)

Kate Weare and Monica Bill Barnes at Annenberg

A hit and a miss

Kate Weare's Bright Land shakes up the folk traditions and gender roles that folk songs most often invoke. By contrast, Monica Bill Barnes's Another Parade was a lightweight attempt at parody.
Jonathan M. Stein

Jonathan M. Stein

Articles 3 minute read

St. Lawrence Quartet at the Perelman

Fewer contortions, more intensity

The St. Lawrence Quartet played beautifully, albeit like a group of hyperactive teenagers. If there was a flaw in their performance of Mozart's G Minor String Quartet, it was, ironically, their subtle lack of intensity.
Dan Coren

Dan Coren

Articles 5 minute read
Rotté (right) with Charles Helmetag: Moments of truth. (Photo: Paola Nogueras.)

"The Cherry Orchard' at Villanova

Comedy of the deadliest sort

In Harriet Power's fresh staging, Chekhov's The Cherry Orchard reveals itself as a startlingly modernist text that is in many ways the matrix of 20th-Century theater.
Robert Zaller

Robert Zaller

Articles 7 minute read
A Romantic and a craftsman, simultaneously.

The poetic return of Theophile Gautier

It's not what you said, but how you said it

The best reason to welcome Theophile Gautier's return is that he's so damned entertaining as a poet. When times get hard, we need a little gentle enchantment in our lives.

Andrew Mangravite

Articles 4 minute read
Tuonamen: Belligerent pacifist.

Chris Braak's "Red Emma' by Iron Age

Her glass was always half-empty

The Philadelphia playwright Chris Braak packs loads of information about the fiery anarchist Emma Goldman into little more than an hour, and Mary Tuonamen in the title role is suitably youthful and passionate. Left unanswered is this question: What made Emma tick? Red Emma. By Chris Braak; John Doyle directed. Iron Age Theatre production February 3-6, 2011 at Centre Theater, 208 DeKalb St., Norristown, Pa. To be performed again in Spring 2011 at an unannounced theater. (610) 279-1013 or ironagetheatre.org.
Steve Cohen

Steve Cohen

Articles 3 minute read
Cody Nickell, Brad Coolidge in 'The Understudy': Will the real artist please stand up?

Starving for art? Give me a break.

The La Bohème syndrome: Who is kidding whom?

Suffering for your art is as romantic as it is nihilistic. But continuing on this path as you get older is downright masochistic.
Jackie Schifalacqua

Jackie Schifalacqua

Articles 4 minute read
Costello, Pérez: Impossible love?

Can real-life opera marriages survive?

Is that your heart or your ego? Or: Operatic marriages, pro and con

The trials of Verdi's Violetta or Puccini's Tosca are child's play next to the challenge of holding an operatic marriage together. Ailyn Pérez and Stephen Costello, currently appearing in Roméo et Juliette, are the latest to try. Wish them well.

Diana Burgwyn

Articles 6 minute read
McClure (left) with Ian Clark: Clever concept, but... (Photo: Mark Garvin.)

"Amadeus' at the Walnut

Too many words about too many notes

Mozart's music has survived for more than two centuries. After just 32 years, Peter Shaffer's Amadeus may have worn out its welcome.
Steve Cohen

Steve Cohen

Articles 2 minute read