January 25, 2026January 25, 2026 ross

Hailey Gillis Captivates in Canadian Stage’s Tense and Revelatory “A Doll’s House”

January 17, 2026January 17, 2026 ross

Scratching at Reality: “Bug” and the Seduction of Shared Madness

January 12, 2026January 11, 2026 ross

When the Rhyme Bites Back: “Tartuffe” at New York Theatre Workshop

January 11, 2026January 10, 2026 ross

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

January 10, 2026 ross

My Favourite Week of the Summer is at The Stratford Festival

January 10, 2026January 9, 2026 ross

Pleasure, Pleasure, Pleasure: “The Importance of Being Earnest” Delights the West End

January 7, 2026January 7, 2026 ross

Returning to the Edge: “Woman in Mind” and the Comedy That Still Cuts

January 6, 2026January 6, 2026 ross

A Visually Lush but Elusive “Playboy of the Western World” Pours Down on the National

January 4, 2026January 4, 2026 ross

Menier’s “Fallen Angels”: Champagne, Jealousy, and Noël Coward at Full Fizz

January 3, 2026January 3, 2026 ross

Guilt Takes Root and Falls Hard in “All My Sons” by Ivo van Hove