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Category: festival shows

January 26, 2026January 24, 2026 ross

Crowns, Chaos, and Crowd Participation in “Diana: The Untold and Untrue Story”

January 10, 2026 ross

My Favourite Week of the Summer is at The Stratford Festival

January 2, 2026January 2, 2026 ross

Bringing the Shaw Festival to the City: Theatre, Access, and a Waterfront Home

December 18, 2025December 17, 2025 ross

Stories That Wouldn’t Leave Me: FrontMezzJunkies’ Top Theatrical Experiences of 2025 from NYC, Toronto, and Beyond

November 26, 2025 ross

The Phenomenal “Hamnet” Opens on the Big Screen this Thanksgiving

November 25, 2025November 25, 2025 ross

“Irving Berlin’s White Christmas” Delivers Holiday Warmth and Classic Charm at the Shaw Festival, Canada

November 3, 2025November 3, 2025 ross

A Barn Full of Ghosts (and Great Stories): The Interview

October 31, 2025October 31, 2025 ross

“Gwyneth Goes Skiing” — A Slippery, Silly, and Slightly Overextended Good Time on the Off-Broadway Slopes

October 24, 2025October 24, 2025 ross

The Weight of Secrets: “Adulthood” & “Little Lorraine” at TIFF50

October 23, 2025October 22, 2025 ross

TIFF50: The Quiet Radicalism of “Between Dreams and Hope” / “Miane Roya Va Omid”

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Recent Posts

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  • Crowded Stages, Heavyweights, and the Race to the Tonys: Spring 2026 Broadway Openings Worth Watching February 1, 2026
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  • 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
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  • Lost to the Rock: Ambition, Mystery, and the Overcrowded Limits of “Picnic at Hanging Rock” January 16, 2026
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  • The Emotional Infinity Loop of Eldridge’s “End” at the National Theatre December 31, 2025
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  • 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
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  • “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
  • Frontmezzjunkies Will Not Return to the Kennedy Center Until Its Name—and Its Mission—Are Restored December 20, 2025
  • Crowned and Caged: “Richard II” as Erotic Reckoning December 20, 2025
  • “Amadeus” Ignites California’s Pasadena Playhouse December 19, 2025

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