Herbert Paine

Despite earnest efforts and glimpses of talent, this production of Shelagh Stephenson's THE MEMORY OF WATER failed to honor the quiet depth of the playwright's work.

Despite some flaws, this LITTLE SHOP, directed by Ron May, is a wild, weird, dark ride.

FORBIDDEN BROADWAY: THE NEXT GENERATION isn’t just a parody—it’s a full-on roast of the Great White Way, served up hot and fast with a piano and four performers who can belt, mug, and mimic with razor precision. 

Arizona Theatre Company has staged a heartfelt and finely wrought production—a love story that resists sentimentality and embraces sincerity. BOB & JEAN may not sweep you off your feet, but it will wrap its arms around you and whisper a reminder of what it means to hold on.

Order Chaos Theatre Company’s production of Beth Henley's CRIMES OF THE HEART is earnest in its attempt to capture the play’s bruised heart and tangled humor. However, ultimately, it’s a production that, like its characters, yearns for something more — and, at times, almost gets there.

ART is a must-see—not just because it’s brilliant, but because it might just make you rethink every argument you’ve ever had about taste.

See The Black Theatre Troupe's staging of LADY DAY, not just for the music, not just for the history, but to witness a piece of theater that doesn’t just tell a story—it makes you feel every note of it.

Don Bluth Front Row Theatre's production of THE RAINMAKER is a heartfelt and intimate production that highlights the story’s enduring themes of self-worth and hope.

By now, the phrase Phantom of the Opera conjures one thing: Andrew Lloyd Webber’s juggernaut, a chandelier-crashing, organ-blasting spectacle that has been haunting Broadway since the Reagan administration. But Maury Yeston and Arthur Kopit’s PHANTOM, currently at Arizona Broadway Theatre in Peoria until April 10, is an entirely different beast—lusher, more romantic. It plays like a grand old movie, the kind that knew how to sweep you up in its spell.

Theatre Artists Studio's staging of Sarah Ruhl's THE CLEAN HOUSE, captures the playwright's intention of a meditation on how people grapple with grief, love, and their own imperfections.

Stray Cat Theatre’s production of FETAL is a necessary, gripping, and unforgettable theatrical experience—one that demands not only contemplation but also collective action and solidarity regarding reproductive rights.

ATC's BLUES IN THE NIGHT: It’s about feeling - pure, raw, and undeniable...if you’re looking to be wrapped up in a night of sensational voices and music that hums in your bones, this is a show to get lost in.

The Phoenix Theatre Company’s production of JERSEY BOYS is a toe-tapping, high-energy joyride through the unforgettable music of The Four Seasons.

Epic, bold, and elegant in design and execution, Ballet Arizona’s production of Annabelle Lopez Ochoa’s FRIDA is a sensory feast – impassioned, radiant, and breathtaking.

It’s always a risk to transplant a beloved classic film to the stage, particularly when that film is one so thoroughly embedded in its time as SOME LIKE IT HOT. Yet this latest Broadway adaptation, now performing at ASU Gammage until the 16th, with kinetic direction and crowd-pleasing choreography by Casey Nicholaw, not only succeeds in updating the story but breathes new, surprising life into its proceedings.

The Black Theatre Troupe's production of THE AFRICAN COMPANY PRESENTS RICHARD III is a triumph: a vital and illuminating piece of theater that reaffirms the stage as a battleground for justice and representation.