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February 5, 2026February 5, 2026 ross

Last Call for a Legend: Finding Dorothy Parker Returns to the Beechman

February 4, 2026February 4, 2026 ross

The Power of Remembering: The Interview

February 3, 2026February 2, 2026 ross

Rhubarb! 47 Returns to Buddies in Bad Times with Hybrid Creatures, Unhinged Experiments, and One-Time-Only Work

February 2, 2026February 1, 2026 ross

“Six” Stands Up Strong

February 1, 2026February 2, 2026 ross

Crowded Stages, Heavyweights, and the Race to the Tonys: Spring 2026 Broadway Openings Worth Watching

January 31, 2026January 31, 2026 ross

BEDLAM’s “Music City” Finds a New Home, and a Bigger Honky-Tonk Heart, in Midtown

January 30, 2026January 31, 2026 ross

Acton Says: Good Heaven’s! “Cimino’s Defeat” at Torn Page

January 29, 2026January 27, 2026 ross

The Interview: A Tony, a Trumpet, and a Whole Lot of Attitude

January 28, 2026January 27, 2026 ross

Vampires, Ballrooms, and Real Risk: Broadway’s New Musical Openings Worth Watching

January 27, 2026January 27, 2026 ross

The Grand Theatre’s “Primary Trust” Finds Grace in Loneliness and Connection

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Recent Posts

  • Last Call for a Legend: Finding Dorothy Parker Returns to the Beechman February 5, 2026
  • The Power of Remembering: The Interview February 4, 2026
  • Rhubarb! 47 Returns to Buddies in Bad Times with Hybrid Creatures, Unhinged Experiments, and One-Time-Only Work February 3, 2026
  • “Six” Stands Up Strong February 2, 2026
  • Crowded Stages, Heavyweights, and the Race to the Tonys: Spring 2026 Broadway Openings Worth Watching February 1, 2026
  • BEDLAM’s “Music City” Finds a New Home, and a Bigger Honky-Tonk Heart, in Midtown January 31, 2026
  • Acton Says: Good Heaven’s! “Cimino’s Defeat” at Torn Page January 30, 2026
  • The Interview: A Tony, a Trumpet, and a Whole Lot of Attitude January 29, 2026
  • Vampires, Ballrooms, and Real Risk: Broadway’s New Musical Openings Worth Watching January 28, 2026
  • The Grand Theatre’s “Primary Trust” Finds Grace in Loneliness and Connection January 27, 2026
  • Crowns, Chaos, and Crowd Participation in “Diana: The Untold and Untrue Story” January 26, 2026
  • Hailey Gillis Captivates in Canadian Stage’s Tense and Revelatory “A Doll’s House” January 25, 2026
  • The Promises and Problems of Crave’s “Heated Rivalry” January 24, 2026
  • When “Make Banana Cry” Leaves You Waiting, Watching, and Wondering January 23, 2026
  • Oscar 2026 Nominations Announced. Are You Ready? January 22, 2026
  • Jonathan Bailey, Ariana Grande, and the Sunday That May Send Me Back to London January 22, 2026
  • Punch Lines, Privilege, and the Limits of Satire in “Messy White Gays” January 21, 2026
  • A Table, a Knock, and a Thousand Spirits in “Pu Songling: Strange Tales” January 20, 2026
  • Breath Held: History, Guilt, and Reckoning in Irish Rep’s “The Honey Trap” January 19, 2026
  • Being Alive: When Talk Is Free Theatre Trusts Sondheim, “Company” Soars January 18, 2026
  • Who’s in the Running? Frontrunners and Faves for the 98th Academy Awards January 17, 2026
  • Scratching at Reality: “Bug” and the Seduction of Shared Madness January 17, 2026
  • Lost to the Rock: Ambition, Mystery, and the Overcrowded Limits of “Picnic at Hanging Rock” January 16, 2026
  • Meeting The Fantasticks for the First Time—Through a Queer Lens January 15, 2026
  • “The 25th Annual Putnam County Spelling Bee” Finds Its Correct Way Straight to the Heart January 14, 2026
  • Anchored in Joy: NYGASP’s “H.M.S. Pinafore” Sails with Love and Laughter January 13, 2026
  • When the Rhyme Bites Back: “Tartuffe” at New York Theatre Workshop January 12, 2026
  • From Jinkx’s Judy to Erivo’s Dracula: A Theatre Junkie Plots a London May January 11, 2026
  • My Favourite Week of the Summer is at The Stratford Festival January 10, 2026
  • Pleasure, Pleasure, Pleasure: “The Importance of Being Earnest” Delights the West End January 10, 2026
  • The Clock Ticks, but the Stakes Never Rise: “High Noon” in the West End January 9, 2026
  • When Theatre Dares to Reconcile the Irreconcilable: TIFT’s “All The Cows Are Dead” January 8, 2026
  • Returning to the Edge: “Woman in Mind” and the Comedy That Still Cuts January 7, 2026
  • A Visually Lush but Elusive “Playboy of the Western World” Pours Down on the National January 6, 2026
  • A New Company, A Necessary Pause January 5, 2026
  • Menier’s “Fallen Angels”: Champagne, Jealousy, and Noël Coward at Full Fizz January 4, 2026
  • Guilt Takes Root and Falls Hard in “All My Sons” by Ivo van Hove January 3, 2026
  • Bringing the Shaw Festival to the City: Theatre, Access, and a Waterfront Home January 2, 2026
  • A Wish and What Comes After: “Into the Woods” at the Bridge Theatre January 1, 2026
  • The Emotional Infinity Loop of Eldridge’s “End” at the National Theatre December 31, 2025
  • A Ghost Story Whispers for Christmas Eve: “The Woman in Black” at the CAA Theatre December 30, 2025
  • A Town, a Bully, and the Moment Everything Breaks: “Kenrex” at The Other Palace December 29, 2025
  • Acton Says: Heroes and Vaudevillians at Puppet Parlor 2025 December 28, 2025
  • Misogyny, Memory, and the Ocean’s Pull on Board O’Neill’s “Anna Christie” December 27, 2025
  • “You Deserve More”: The Spectacular Miscalculation of Broadway’s “The Queen of Versailles” December 26, 2025
  • Counting Blessings, Not Sheep: My Favourite Christmas Films December 25, 2025
  • “Does It Hurt?” Love and Injury in Off-Broadway’s “Gruesome Playground Injuries” December 24, 2025
  • “Every Brilliant Thing”: The Radcliffe Return to Broadway December 23, 2025
  • The Smell of Bread and the Cost of Desire: CSC’s “The Baker’s Wife” December 22, 2025
  • When the Past Outshines the Future: “This World of Tomorrow” at The Shed December 21, 2025

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