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

January 1, 2026December 31, 2025 ross

A Wish and What Comes After: “Into the Woods” at the Bridge Theatre

December 31, 2025December 31, 2025 ross

The Emotional Infinity Loop of Eldridge’s “End” at the National Theatre

December 30, 2025December 30, 2025 ross

A Ghost Story Whispers for Christmas Eve: “The Woman in Black” at the CAA Theatre

December 29, 2025December 29, 2025 ross

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

December 28, 2025December 27, 2025 ross

Acton Says: Heroes and Vaudevillians at Puppet Parlor 2025

December 27, 2025December 27, 2025 ross

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