The record of human existence comes in all forms, from crude drawings etched in stone to fully researched accounts compiled in bound volumes. Amy Finkel's speciality is words rendered by children in small, crisp stitches on fragments of linen.
If art comes from pain, then James Webster is Michelangelo. He's suffered from depression, alcoholism, and stroke. He's been arrested for assault, divorced by two women, and beaten with bats by gangs, and he lived homeless in North Philadelphia for a year.
What's worse? Being traded in after 34 years by your Broadway producer husband for his decades-younger producing partner, or writing a musical revue about it? I'm going to go with writing the revue, Til Divorce Do Us Part, because getting dumped is painful, and while Ruthe Ponturo's ex seems like a real cad, at least without this show she still had her dignity.
When opera star Kathleen Battle performs in Philadelphia Friday, she won't be singing Handel or Mozart.
Since the Philadelphia Orchestra exited bankruptcy more than two years ago, several key financial indicators have brightened. Obligations associated with the orchestra's Chapter 11 settlement have been paid off, income from concerts is growing nicely, and annual fund-raising is improving more than nicely.
There's something about Quintessence Theatre Group's production of Richard II that calls to mind The Rocky Horror Picture Show and the downfall of its alien king, Frank N. Furter.
Here's the quick review of People's Light and Theatre Company's local premiere of Row After Row: Jessica Dickey's imaginative play uses a unique subculture to probe fascinating ideas in what is ultimately a flawed and incomplete attempt.
With more orchestras declining than thriving, classical music audiences can be forgiven for thinking the brand new Pennsylvania Philharmonic is a mirage.