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Tag: Billy Crudup

January 9, 2026January 9, 2026 ross

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

March 19, 2025March 19, 2025 ross

“Henrik Ibsen’s Ghosts” at LCTheater Delivers its Lightened Weight Thanks to its Seasoned Stars

November 21, 2017November 21, 2017 ross

Harry Clarke: The Talented Mr. Billy Ripley Does A One Man Show

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Recent Posts

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  • Missing the Opening of “Little Willy” at Canadian Stage February 22, 2026
  • Why “Heated Rivalry: The Unauthorized Musical Parody” Became an Event Before the Puck Even Dropped February 21, 2026
  • Heathcliff Returns Again: Curiosity Grows Around the New “Wuthering Heights” February 20, 2026
  • Keep Marching: “Suffs” Expands Its Reach on PBS Great Performances February 19, 2026
  • Across the Atlantic, a Season to Envy: London’s Critics’ Circle Nominations Spark Theatre Wanderlust February 18, 2026
  • Two Nights, One Community: Broadway’s Annual Celebrations of Surprise and Storytelling February 17, 2026
  • Up Close with Capote: Jesse Tyler Ferguson Returns to New York in “Tru” February 16, 2026
  • The High School Project’s “School of Rock” at The Grand is Rocking the Room & Learning the Craft February 15, 2026
  • When One Curtain Falls and Another Rises February 14, 2026
  • Jeremy Jordan Is Taking Over “Just In Time” and Honestly, That Feels Exactly Right February 13, 2026
  • Fiddler on the Roof in Yiddish Brings Its Quiet Revelation to Toronto February 12, 2026
  • The Interview: A Life in the Work: Robyne Parrish Comes Home to Leadership as Arrowrock Lyceum Theatre’s new Artistic Director February 11, 2026
  • The Creatives Most Honoured at the 2026 Obie Awards February 10, 2026
  • The Seduction of Certainty in “Marty Supreme” Works Without Asking for Approval February 9, 2026
  • “Mexodus” Returns Off-Broadway, Looping History Back Into the Present February 8, 2026
  • The Interview: Gabriella Sundar Singh and the Solitude of Witness February 7, 2026
  • The Interview: Sitting in Discomfort as a Tool: Steven Hao on Directing Mike Bartlett’s “An Intervention” February 6, 2026
  • Last Call for a Legend: Finding Dorothy Parker Returns to the Beechman February 5, 2026
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  • BEDLAM’s “Music City” Finds a New Home, and a Bigger Honky-Tonk Heart, in Midtown January 31, 2026
  • 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
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  • Jonathan Bailey, Ariana Grande, and the Sunday That May Send Me Back to London January 22, 2026
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  • A Table, a Knock, and a Thousand Spirits in “Pu Songling: Strange Tales” January 20, 2026
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  • 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
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  • 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
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  • Pleasure, Pleasure, Pleasure: “The Importance of Being Earnest” Delights the West End January 10, 2026
  • The Clock Ticks, but the Stakes Never Rise: “High Noon” in the West End January 9, 2026
  • When Theatre Dares to Reconcile the Irreconcilable: TIFT’s “All The Cows Are Dead” January 8, 2026

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