February 19, 2026February 19, 2026 ross

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

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

January 31, 2026January 31, 2026 ross

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

January 28, 2026January 27, 2026 ross

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

January 22, 2026January 21, 2026 ross

Jonathan Bailey, Ariana Grande, and the Sunday That May Send Me Back to London

January 18, 2026January 19, 2026 ross

Being Alive: When Talk Is Free Theatre Trusts Sondheim, “Company” Soars

January 16, 2026January 16, 2026 ross

Lost to the Rock: Ambition, Mystery, and the Overcrowded Limits of “Picnic at Hanging Rock”

January 15, 2026January 15, 2026 ross

Meeting The Fantasticks for the First Time—Through a Queer Lens