Paul Batterson

What did our critic think of THE SOUND OF MUSIC at Ohio Theatre?

In the Columbus Children’s Theatre production of CABARET, nothing is what it appears to be. A line can be repeated but cast a completely different meaning and things that are commonplace in the first act take on a darker symbolic meaning by the second.

In the Columbus Children’s Theatre production of CABARET, nothing is what it appears to be. A line can be repeated but cast a completely different meaning and things that are commonplace in the first act take on a darker symbolic meaning by the second.

In WICKED, Eden Espinosa’s skin was green. In LEMPICKA, the Tony-nominated actress had to age from 19 to 85 in a musical. On Feb. 28, Espinosa gets to perform in the skin she feels the most comfortable – her own.

What did our critic think of THE SIMON AND GARFUNKEL STORY at Southern Theatre?

Shadowbox’s latest production is more leather than lace, offering a wide variety of power ballads from each generation.

Most singers would kill to have Brendan Jacob Smith’s resume. Smith has been in a hit musical for over five years, released two albums, and joined an a cappella trio that reached the quarterfinals of AMERICA’S GOT TALENT -- all before the age of 30.

PETER PAN may be a story about never growing up, but BalletMet’s upcoming production offers a mature update to the children’s classic.

Those who attend the Columbus stop of THE MOON, THE WALL AND BEYOND tour at the Palace Theatre might be checking to make sure this is Brit Floyd instead of the actual Pink Floyd, which last played together with singer Roger Waters July 2, 2005, at the Live 8 Concert.

Reviewing the revered LES MISERABLES is always a mixed bag. The show, running Jan. 27–Feb. 1 at the Ohio Theatre (39 E. State Street, downtown Columbus), is a towering piece of musical theater history. It has a cadre of powerful songs (“Do You Hear The People Sing?,” “I Dreamed a Dream,” and “One More Day” … that’s just in the first act), and characters that linger with you long after the curtain falls.

What did our critic think of SHORT NORTH STAGE'S COME FROM AWAY at Garden Theatre?

What did our critic think of THE CALL at The Shedd Theater?

As a flight attendant years after the Sept. 11 attacks, Adam Williams used to think it was a minor inconvenience every time his plane was diverted to Gander, Newfoundland, and Labrador because of a storm in New York City.

Columbus-based playwright Francesca DiFrancesco latest work, THE CALL, was sparked during a visit to Disney World’s “Country Bear Jamboree.”

As he enters his sixth season with the Abbey Theater of Dublin, director Joe Bishara is overseeing a lineup of shows that brings elementary school students, high school and college-aged performers, and senior citizens to the stage.

Comedian John Mulaney has famously raised a few uncomfortable questions about BACK TO THE FUTURE — why a teenager is best friends with a decades-older nuclear scientist, why no one uses a time machine for anything meaningful, and why the story hinges on Marty nearly romancing his own mother.

As he gears up for the Stage Right Theatrics Short Play Festival, director Robert Cooperman doesn’t have to look far to see how far the 10th annual event has come.

The challenges couldn’t be more different for actor Mike Bindeman. The actor went from playing laidback guitarist Gregg Allman during THE CHER SHOW to playing super geek George McFly in BACK TO THE FUTURE: THE MUSICAL.

Read out interview with Reese Cameron of SIX THE MUSICAL at the Palace Theatre