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Tag: Jennifer Damiano

February 16, 2020 ross

TNG’s Bob & Carol & Ted & Alice & the Amazing Suzanna Vega: What’s Not to Like?

April 21, 2016April 23, 2016 ross

American Psycho: One Bloody Bloody Musical

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Recent Posts

  • Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof March 26, 2023
  • The Unpacking of the First Métis Man of Odesa, An Interview March 25, 2023
  • Broadway’s Pictures From Home Remains Unfocused and Flat March 5, 2023
  • Tarragon Theatre Sparkles with the Intense and Captivating “Behind the Moon” March 4, 2023
  • MCC’s Wolf Play Rings Forth the Battle, Playfully and Emotionally March 3, 2023
  • Tarragon Theatre Unleashes a Powerful and Funny Redbone Coonhound March 1, 2023
  • Soulpepper Theatre’s English Speaks Volumes With Humor and Pain February 27, 2023
  • Titanique is Céline “Fu**ing” Dion Unsinkable February 25, 2023
  • Anthony Rapp’s Without You Gets the Rent Right, But Disconnects When it Gets Personal February 25, 2023
  • Leo Reich: Literally Who Cares?! Well, Maybe I do. Most Definitely. February 22, 2023
  • Audible’s Lucy Builds Tension, But to What End? February 21, 2023
  • The Memory of Trees, An Interview February 20, 2023
  • Roundabout’s The Wanderers Does Exactly That, But Fails to Find its Way to the Core February 18, 2023
  • 2ST’s Between Riverside and Crazy Rotates to Great Heights on Broadway February 2, 2023
  • Broadway’s A Beautiful Noise Tries Hard, Without a Lot of Sing Song Blues to Run With January 31, 2023
  • MTC’s The Collaboration Makes Disposable Sellable Art for Consumption January 27, 2023
  • NYTW’s Merrily We Roll Along Triumphs in Reverse, Wonderfully January 24, 2023
  • “The Pale Blue Eye” Doesn’t Blink as it Captivates and Intrigues January 11, 2023
  • West End’s Best of Enemies Clashes Dynamically, Expertly, and Intelligently January 8, 2023
  • West End’s Great Play, Good January 6, 2023
  • Tammy Faye – A New Musical Sparkles in its Unfocused Frame January 5, 2023
  • The Best of 2022 On Stage – in NYC, London, and Toronto January 1, 2023
  • Ruben Östlund’s “Triangle of Sadness” – I Command You: Enjoy the Moment December 31, 2022
  • Toronto’s Joseph Wears its Amazing Technicolor Dreamcoat Energetically and Joyfully December 30, 2022
  • Broadway’s “Ohio State Murders” Fails to Plunge the Knife in Deep December 27, 2022
  • Broadway’s “Some Like It Hot” Sizzles and Soars Most Progressively December 25, 2022
  • “Becky Nurse of Salem” Fires Up The Stakes, But Fizzles Out Soon After December 24, 2022
  • “& Juliet”, The New Broadway Musical Roars Strong December 23, 2022
  • Atlantic Theater Company’s Wisely Floats Forward “The Far Country” December 21, 2022
  • Vineyard Theatre’s “Sandra” Loses Its Way December 19, 2022
  • Toronto’s Icarus Theatre Securely Ushers in Kenneth Lonergan’s “Lobby Hero” December 18, 2022
  • Broadway’s “The Piano Lesson” Finds Meaning, Even When Not Every Note Hits True December 16, 2022
  • Playwrights Horizons Scores Big with Norris’s Complicated “Downstate” December 15, 2022
  • Broadway’s One-Mays “Christmas Carol”, is Sumptuously Staged, But Lacks an Engaging Middle December 11, 2022
  • “Kimberly Akimbo” Gets Her (and Our) Wish Most Wonderfully on Broadway December 10, 2022
  • Broadway’s “KPOP” Astonishes on the Surface, But Fails to Dig Deep. December 9, 2022
  • “2:22 – A Ghost Story” Creeps Up London’s West End Wonderfully December 5, 2022
  • Broadway’s Ain’t No Mo’ is Totally Enough December 4, 2022
  • The Lea Michele Revitalized Funny Girl is Finally Balanced and Buoyant December 2, 2022
  • The Doctor Spins Spectacularly Smart in London’s West End November 24, 2022
  • Tarragon Theatre Disturbs with Post Democracy November 18, 2022
  • A Man of No Importance Comes Out Beautiful and Strong November 17, 2022
  • Public Theater’s Dynamic A Raisin in the Sun Demolishes the Happy Ending November 15, 2022
  • The One Person Show Swims Strong With Walking Ghosts, Indigenous History, and an Old Man and the Pool, Exactly, Where We Belong November 13, 2022
  • Almost Famous Strikes an Off-Key Chord on Broadway November 12, 2022
  • Roundabout’s You Will Get Sick Weirdly and Wonderfully Just Wants to Click Their Collective Heels and Go Home November 8, 2022
  • Topdog/Underdog Moves and Grooves Intensely On Broadway Once Again November 6, 2022
  • We All Have Knives, An Interview November 2, 2022
  • Arthur Miller’s Death of a Salesman Revival on Broadway Overflows with Respect and Relevance October 30, 2022
  • Factory Theatre Charms with The Waltz by Badian October 29, 2022

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