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Month: February 2022

February 28, 2022February 28, 2022 ross

Broadway’s Revival of The Music Man Entertains Charmingly

February 20, 2022February 23, 2022 ross

MTC’s Skeleton Crew Projects Power and Hope on the Factory Wall

February 15, 2022February 15, 2022 ross

Actress/Activist Pooya Mohseni On Her Role In Sanaz Toossi’s ENGLISH

February 14, 2022February 14, 2022 ross

CODA Has Something Beautiful to Say, Sing, and Sign

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Recent Posts

  • The Unpacking of the First Métis Man of Odesa, An Interview March 25, 2023
  • Broadway’s Pictures From Home Remains Unfocused and Flat March 5, 2023
  • Tarragon Theatre Sparkles with the Intense and Captivating “Behind the Moon” March 4, 2023
  • MCC’s Wolf Play Rings Forth the Battle, Playfully and Emotionally March 3, 2023
  • Tarragon Theatre Unleashes a Powerful and Funny Redbone Coonhound March 1, 2023
  • Soulpepper Theatre’s English Speaks Volumes With Humor and Pain February 27, 2023
  • Titanique is Céline “Fu**ing” Dion Unsinkable February 25, 2023
  • Anthony Rapp’s Without You Gets the Rent Right, But Disconnects When it Gets Personal February 25, 2023
  • Leo Reich: Literally Who Cares?! Well, Maybe I do. Most Definitely. February 22, 2023
  • Audible’s Lucy Builds Tension, But to What End? February 21, 2023
  • The Memory of Trees, An Interview February 20, 2023
  • Roundabout’s The Wanderers Does Exactly That, But Fails to Find its Way to the Core February 18, 2023
  • 2ST’s Between Riverside and Crazy Rotates to Great Heights on Broadway February 2, 2023
  • Broadway’s A Beautiful Noise Tries Hard, Without a Lot of Sing Song Blues to Run With January 31, 2023
  • MTC’s The Collaboration Makes Disposable Sellable Art for Consumption January 27, 2023
  • NYTW’s Merrily We Roll Along Triumphs in Reverse, Wonderfully January 24, 2023
  • “The Pale Blue Eye” Doesn’t Blink as it Captivates and Intrigues January 11, 2023
  • West End’s Best of Enemies Clashes Dynamically, Expertly, and Intelligently January 8, 2023
  • West End’s Great Play, Good January 6, 2023
  • Tammy Faye – A New Musical Sparkles in its Unfocused Frame January 5, 2023
  • The Best of 2022 On Stage – in NYC, London, and Toronto January 1, 2023
  • Ruben Östlund’s “Triangle of Sadness” – I Command You: Enjoy the Moment December 31, 2022
  • Toronto’s Joseph Wears its Amazing Technicolor Dreamcoat Energetically and Joyfully December 30, 2022
  • Broadway’s “Ohio State Murders” Fails to Plunge the Knife in Deep December 27, 2022
  • Broadway’s “Some Like It Hot” Sizzles and Soars Most Progressively December 25, 2022
  • “Becky Nurse of Salem” Fires Up The Stakes, But Fizzles Out Soon After December 24, 2022
  • “& Juliet”, The New Broadway Musical Roars Strong December 23, 2022
  • Atlantic Theater Company’s Wisely Floats Forward “The Far Country” December 21, 2022
  • Vineyard Theatre’s “Sandra” Loses Its Way December 19, 2022
  • Toronto’s Icarus Theatre Securely Ushers in Kenneth Lonergan’s “Lobby Hero” December 18, 2022
  • Broadway’s “The Piano Lesson” Finds Meaning, Even When Not Every Note Hits True December 16, 2022
  • Playwrights Horizons Scores Big with Norris’s Complicated “Downstate” December 15, 2022
  • Broadway’s One-Mays “Christmas Carol”, is Sumptuously Staged, But Lacks an Engaging Middle December 11, 2022
  • “Kimberly Akimbo” Gets Her (and Our) Wish Most Wonderfully on Broadway December 10, 2022
  • Broadway’s “KPOP” Astonishes on the Surface, But Fails to Dig Deep. December 9, 2022
  • “2:22 – A Ghost Story” Creeps Up London’s West End Wonderfully December 5, 2022
  • Broadway’s Ain’t No Mo’ is Totally Enough December 4, 2022
  • The Lea Michele Revitalized Funny Girl is Finally Balanced and Buoyant December 2, 2022
  • The Doctor Spins Spectacularly Smart in London’s West End November 24, 2022
  • Tarragon Theatre Disturbs with Post Democracy November 18, 2022
  • A Man of No Importance Comes Out Beautiful and Strong November 17, 2022
  • Public Theater’s Dynamic A Raisin in the Sun Demolishes the Happy Ending November 15, 2022
  • The One Person Show Swims Strong With Walking Ghosts, Indigenous History, and an Old Man and the Pool, Exactly, Where We Belong November 13, 2022
  • Almost Famous Strikes an Off-Key Chord on Broadway November 12, 2022
  • Roundabout’s You Will Get Sick Weirdly and Wonderfully Just Wants to Click Their Collective Heels and Go Home November 8, 2022
  • Topdog/Underdog Moves and Grooves Intensely On Broadway Once Again November 6, 2022
  • We All Have Knives, An Interview November 2, 2022
  • Arthur Miller’s Death of a Salesman Revival on Broadway Overflows with Respect and Relevance October 30, 2022
  • Factory Theatre Charms with The Waltz by Badian October 29, 2022
  • ATC Waits Out the Multi-Layered I’m Revolting to Score Big at the End of the Day October 27, 2022

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