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

December 27, 2025December 27, 2025 ross

Misogyny, Memory, and the Ocean’s Pull on Board O’Neill’s “Anna Christie”

December 20, 2025December 20, 2025 ross

Crowned and Caged: “Richard II” as Erotic Reckoning

December 19, 2025December 19, 2025 ross

“Amadeus” Ignites California’s Pasadena Playhouse

December 18, 2025December 17, 2025 ross

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

December 14, 2025December 14, 2025 ross

The Return and Reconstruction of “Marjorie Prime”