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February 20, 2026February 20, 2026 ross

Heathcliff Returns Again: Curiosity Grows Around the New “Wuthering Heights”

February 19, 2026February 19, 2026 ross

Keep Marching: “Suffs” Expands Its Reach on PBS Great Performances

February 18, 2026February 18, 2026 ross

Across the Atlantic, a Season to Envy: London’s Critics’ Circle Nominations Spark Theatre Wanderlust

February 17, 2026February 16, 2026 ross

Two Nights, One Community: Broadway’s Annual Celebrations of Surprise and Storytelling

February 16, 2026February 16, 2026 ross

Up Close with Capote: Jesse Tyler Ferguson Returns to New York in “Tru”

February 15, 2026February 15, 2026 ross

The High School Project’s “School of Rock” at The Grand is Rocking the Room & Learning the Craft

February 14, 2026February 14, 2026 ross

When One Curtain Falls and Another Rises

February 13, 2026February 11, 2026 ross

Jeremy Jordan Is Taking Over “Just In Time” and Honestly, That Feels Exactly Right

February 12, 2026February 12, 2026 ross

Fiddler on the Roof in Yiddish Brings Its Quiet Revelation to Toronto

February 11, 2026February 7, 2026 ross

The Interview: A Life in the Work: Robyne Parrish Comes Home to Leadership as Arrowrock Lyceum Theatre’s new Artistic Director

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Recent Posts

  • Heathcliff Returns Again: Curiosity Grows Around the New “Wuthering Heights” February 20, 2026
  • Keep Marching: “Suffs” Expands Its Reach on PBS Great Performances February 19, 2026
  • Across the Atlantic, a Season to Envy: London’s Critics’ Circle Nominations Spark Theatre Wanderlust February 18, 2026
  • Two Nights, One Community: Broadway’s Annual Celebrations of Surprise and Storytelling February 17, 2026
  • Up Close with Capote: Jesse Tyler Ferguson Returns to New York in “Tru” February 16, 2026
  • The High School Project’s “School of Rock” at The Grand is Rocking the Room & Learning the Craft February 15, 2026
  • When One Curtain Falls and Another Rises February 14, 2026
  • Jeremy Jordan Is Taking Over “Just In Time” and Honestly, That Feels Exactly Right February 13, 2026
  • Fiddler on the Roof in Yiddish Brings Its Quiet Revelation to Toronto February 12, 2026
  • The Interview: A Life in the Work: Robyne Parrish Comes Home to Leadership as Arrowrock Lyceum Theatre’s new Artistic Director February 11, 2026
  • The Creatives Most Honoured at the 2026 Obie Awards February 10, 2026
  • The Seduction of Certainty in “Marty Supreme” Works Without Asking for Approval February 9, 2026
  • “Mexodus” Returns Off-Broadway, Looping History Back Into the Present February 8, 2026
  • The Interview: Gabriella Sundar Singh and the Solitude of Witness February 7, 2026
  • The Interview: Sitting in Discomfort as a Tool: Steven Hao on Directing Mike Bartlett’s “An Intervention” February 6, 2026
  • 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

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