February 13, 2026February 11, 2026 ross

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

February 10, 2026February 10, 2026 ross

The Creatives Most Honoured at the 2026 Obie Awards

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 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

January 11, 2026January 10, 2026 ross

From Jinkx’s Judy to Erivo’s Dracula: A Theatre Junkie Plots a London May

January 8, 2026January 8, 2026 ross

When Theatre Dares to Reconcile the Irreconcilable: TIFT’s “All The Cows Are Dead”

December 29, 2025December 29, 2025 ross

A Town, a Bully, and the Moment Everything Breaks: “Kenrex” at The Other Palace

December 26, 2025December 26, 2025 ross

“You Deserve More”: The Spectacular Miscalculation of Broadway’s “The Queen of Versailles”