February 18, 2026February 18, 2026 ross

Across the Atlantic, a Season to Envy: London’s Critics’ Circle Nominations Spark Theatre Wanderlust

February 14, 2026February 14, 2026 ross

When One Curtain Falls and Another Rises

January 22, 2026January 21, 2026 ross

Jonathan Bailey, Ariana Grande, and the Sunday That May Send Me Back to London

January 11, 2026January 10, 2026 ross

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

January 10, 2026January 9, 2026 ross

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

January 9, 2026January 9, 2026 ross

The Clock Ticks, but the Stakes Never Rise: “High Noon” in the West End

January 7, 2026January 7, 2026 ross

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

January 3, 2026January 3, 2026 ross

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

December 18, 2025December 17, 2025 ross

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

October 11, 2025October 9, 2025 ross

John Lithgow Towers Over Broadway Once More in “Giant”, Mark Rosenblatt’s Roald Dahl Drama