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December 25, 2025December 24, 2025 ross

Counting Blessings, Not Sheep: My Favourite Christmas Films

December 24, 2025December 24, 2025 ross

“Does It Hurt?” Love and Injury in Off-Broadway’s “Gruesome Playground Injuries”

December 23, 2025December 23, 2025 ross

“Every Brilliant Thing”: The Radcliffe Return to Broadway

December 22, 2025December 22, 2025 ross

The Smell of Bread and the Cost of Desire: CSC’s “The Baker’s Wife”

December 21, 2025December 21, 2025 ross

When the Past Outshines the Future: “This World of Tomorrow” at The Shed

December 20, 2025December 20, 2025 ross

Frontmezzjunkies Will Not Return to the Kennedy Center Until Its Name—and Its Mission—Are Restored

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 17, 2025December 17, 2025 ross

Checkmate by Vocal Firepower: Broadway’s “Chess” Blows the Roof Off Broadway

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Recent Posts

  • “Six” Stands Up Strong February 2, 2026
  • Crowded Stages, Heavyweights, and the Race to the Tonys: Spring 2026 Broadway Openings Worth Watching February 1, 2026
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  • Acton Says: Good Heaven’s! “Cimino’s Defeat” at Torn Page January 30, 2026
  • The Interview: A Tony, a Trumpet, and a Whole Lot of Attitude January 29, 2026
  • Vampires, Ballrooms, and Real Risk: Broadway’s New Musical Openings Worth Watching January 28, 2026
  • The Grand Theatre’s “Primary Trust” Finds Grace in Loneliness and Connection January 27, 2026
  • Crowns, Chaos, and Crowd Participation in “Diana: The Untold and Untrue Story” January 26, 2026
  • Hailey Gillis Captivates in Canadian Stage’s Tense and Revelatory “A Doll’s House” January 25, 2026
  • The Promises and Problems of Crave’s “Heated Rivalry” January 24, 2026
  • When “Make Banana Cry” Leaves You Waiting, Watching, and Wondering January 23, 2026
  • Oscar 2026 Nominations Announced. Are You Ready? January 22, 2026
  • Jonathan Bailey, Ariana Grande, and the Sunday That May Send Me Back to London January 22, 2026
  • Punch Lines, Privilege, and the Limits of Satire in “Messy White Gays” January 21, 2026
  • A Table, a Knock, and a Thousand Spirits in “Pu Songling: Strange Tales” January 20, 2026
  • Breath Held: History, Guilt, and Reckoning in Irish Rep’s “The Honey Trap” January 19, 2026
  • Being Alive: When Talk Is Free Theatre Trusts Sondheim, “Company” Soars January 18, 2026
  • Who’s in the Running? Frontrunners and Faves for the 98th Academy Awards January 17, 2026
  • Scratching at Reality: “Bug” and the Seduction of Shared Madness January 17, 2026
  • Lost to the Rock: Ambition, Mystery, and the Overcrowded Limits of “Picnic at Hanging Rock” January 16, 2026
  • Meeting The Fantasticks for the First Time—Through a Queer Lens January 15, 2026
  • “The 25th Annual Putnam County Spelling Bee” Finds Its Correct Way Straight to the Heart January 14, 2026
  • Anchored in Joy: NYGASP’s “H.M.S. Pinafore” Sails with Love and Laughter January 13, 2026
  • When the Rhyme Bites Back: “Tartuffe” at New York Theatre Workshop January 12, 2026
  • From Jinkx’s Judy to Erivo’s Dracula: A Theatre Junkie Plots a London May January 11, 2026
  • My Favourite Week of the Summer is at The Stratford Festival January 10, 2026
  • Pleasure, Pleasure, Pleasure: “The Importance of Being Earnest” Delights the West End January 10, 2026
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  • When Theatre Dares to Reconcile the Irreconcilable: TIFT’s “All The Cows Are Dead” January 8, 2026
  • Returning to the Edge: “Woman in Mind” and the Comedy That Still Cuts January 7, 2026
  • A Visually Lush but Elusive “Playboy of the Western World” Pours Down on the National January 6, 2026
  • A New Company, A Necessary Pause January 5, 2026
  • Menier’s “Fallen Angels”: Champagne, Jealousy, and Noël Coward at Full Fizz January 4, 2026
  • Guilt Takes Root and Falls Hard in “All My Sons” by Ivo van Hove January 3, 2026
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  • A Wish and What Comes After: “Into the Woods” at the Bridge Theatre January 1, 2026
  • The Emotional Infinity Loop of Eldridge’s “End” at the National Theatre December 31, 2025
  • A Ghost Story Whispers for Christmas Eve: “The Woman in Black” at the CAA Theatre December 30, 2025
  • A Town, a Bully, and the Moment Everything Breaks: “Kenrex” at The Other Palace December 29, 2025
  • Acton Says: Heroes and Vaudevillians at Puppet Parlor 2025 December 28, 2025
  • Misogyny, Memory, and the Ocean’s Pull on Board O’Neill’s “Anna Christie” December 27, 2025
  • “You Deserve More”: The Spectacular Miscalculation of Broadway’s “The Queen of Versailles” December 26, 2025
  • Counting Blessings, Not Sheep: My Favourite Christmas Films December 25, 2025
  • “Does It Hurt?” Love and Injury in Off-Broadway’s “Gruesome Playground Injuries” December 24, 2025
  • “Every Brilliant Thing”: The Radcliffe Return to Broadway December 23, 2025
  • The Smell of Bread and the Cost of Desire: CSC’s “The Baker’s Wife” December 22, 2025
  • When the Past Outshines the Future: “This World of Tomorrow” at The Shed December 21, 2025
  • Frontmezzjunkies Will Not Return to the Kennedy Center Until Its Name—and Its Mission—Are Restored December 20, 2025
  • Crowned and Caged: “Richard II” as Erotic Reckoning December 20, 2025
  • “Amadeus” Ignites California’s Pasadena Playhouse December 19, 2025

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