David Fox

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An accomplished, exhilaratingly theatrical show, but the core story and its protagonist remain elusive.

Director Brenna Geffers’ visually stunning production turns an old play into the freshest, most daring show in town.

Laura Eason’s play — a mix of serious themes and meet-cute glibness — is simultaneously overwrought and undercooked.

Jennifer Haley’s gripping play is part cyber-thriller, part character study, part science fiction.

In Rick Elice’s clever, energetic play, some of the heart and soul get lost.

Rebecca Wright’s beautiful production finds the essence of Shaw’s gorgeous, unwieldy play.

Despite the self-consciously clever production, Brandon Jacobs-Jenkins’ brilliant play and the excellent cast win the day.

In this gripping production, one of August Wilson’s less frequently produced plays looks instead like one of his greatest.

Director Jack O’Brien gives us the show in glorious technicolor, while masterfully finding some darker undertones.

Forget the 1939 movie — this deconstructed, provocative production will have you thinking about the play as never before.

There’s more than a hint of young adult fiction to Emma Goidel’s play, but the right audiences will enjoy it.

Richard Strauss’ funny, beautiful and moving last opera is superbly done in this co-production by Curtis Opera Theatre and Opera Philadelphia.

John Logan’s play is executed skillfully at the Walnut Studio, but the small space robs it of its grandeur.

Kim Davies’ play about sexual bondage feels like a cynical exercise in edginess for its own sake.

Director Diane Paulus’s circus-style production is visually stunning — but two Broadway veterans walk off with the show.