Tara Bennett

Heidi Kettenring has been a Neil Diamond fan since childhood, and now she's bringing his story to life on stage in A BEAUTIFUL NOISE THE NEIL DIAMOND MUSICAL playing both his mother Rose and legendary songwriter Ellie Greenwich.

After more than a decade, Rivertown Theaters' Co-Artistic/Managing Director Gary Rucker is revisiting one of musical theatre's most celebrated works with a production of GYPSY that runs through November 9.

What did our critic think of EXHAUSTED PAINT at Fat Squirrel? Fat Squirrel's production of EXHAUSTED PAINT: THE DEATH OF VAN GOGH takes an unconventional approach to Vincent van Gogh's story.

Keith Claverie steps into Victor Frankenstein this October, portraying one of literature's most challenging roles in The NOLA Project's production of FRANKENSTEIN at Greenway Station.

When the national tour of KIMBERLY AKIMBO arrived in New Orleans, it brought a Tony-winning musical balancing quirky humor and emotional depth.

Columbia Theatre for the Performing Arts is leaning all the way into spooky season with the world premiere of THE GRAVEYARD GIRLS, a Halloween-night anthology spun amid headstones, fog and the distant yip of coyotes.

New Orleans in the fall isn’t just about crisp air, gumbo and jazz drifting through the streets; it’s also a prime moment for theater, dance and bold storytelling. As the city cools, stages heat up.

MS. HOLMES & MS. WATSON - APT. 2B, Kate Hamill’s razor-sharp reimagining of the world’s most famous detective duo, finds its perfect home at Crescent City Stage.

Rivertown Theaters is making national history with the first U.S. non-replica staging of Dear Evan Hansen. In our interview, Co-Artistic Director Kelly Fouchi shares why the show’s themes of connection and compassion resonate so powerfully and why Kenner is the perfect stage.

Le Petit Théâtre du Vieux Carré is rolling out a five-show season that moves from banking dynasties to spectral hijinks, playground diplomacy gone feral to a brass-buttoned Broadway classic and, at last, a New Orleans original production of ONCE. If that sounds eclectic, that’s by design.

Tennessee Williams Theatre Company’s CAT ON A HOT TIN ROOF, now playing at the Marquette Theatre in New Orleans, does exactly that. It’s electric. It’s guttural. And it’s one of the boldest things I’ve seen TWTC do, and that’s saying something.

From September 18–21, 2025, OVO, the internationally acclaimed production inspired by the fascinating world of insects, will take over the Smoothie King Center in New Orleans. Audiences will get the chance to experience the show’s bold new incarnation, complete with new acrobatic acts, redesigned sets, vibrant costumes, original characters and reinvented music.

If you’ve ever wondered what would happen if The Sopranos ran away and joined the circus, look no further than CLOWN BAR 2. The NOLA Project’s latest immersive experience is absurd, raunchy and riotously funny—with just enough heart beneath the greasepaint to make you unexpectedly emotional about murder clowns.

As THE WIZ celebrates its 50th anniversary, few performers embody its legacy and evolution quite like Alan Mingo Jr., who originated the title role on the pre-Broadway tour, lit up the Broadway stage and now brings his bold, reimagined Wiz to audiences across the country.

What happens when the written word becomes a lifeline? In TINY BEAUTIFUL THINGS, Crescent City Stage delivers a stirring answer, offering audiences not just a play, but an experience in empathy and shared vulnerability.

Ballets with a Twist, the New York-based company known for its inventive fusion of dance and pop culture, is set to make its Louisiana debut with COCKTAIL HOUR: THE SHOW on May 1 at the Rosa Hart Theatre. As part of the 2025 Banners at McNeese State University’s cultural season, this production promises a night of glamour, humor and immersive storytelling like no other.

There’s a moment in ORPHEUS DESCENDING when Valentine Xavier, tall, lanky, with enough charisma to make a statue blush, enters a dry goods store in a dying Mississippi town, and you just know something is about to combust.

Edward Albee’s WHO’S AFRAID OF VIRGINIA WOOLF? is a raw, relentless, and deeply unsettling theatrical titan. Since its debut in 1962, it has held its place as one of the most harrowing portraits of marital discontent and social decay in American theatre. The play dares its audience to sit through nearly three hours of verbal warfare and emotional manipulation as it unflinchingly examines middle-class disillusionment. And audiences keep coming back for more.

For decades, THE NUTCRACKER has been a cherished holiday tradition, enchanting audiences with its timeless tale and dazzling performances. For the Talmi family, however, this production is more than just a seasonal classic—it's a labor of love that spans generations. In this exclusive interview with BroadwayWorld, producer Dan Talmi takes us behind the scenes of THE NUTCRACKER MAGICAL CHRISTMAS BALLET offering insights into its origins, the creative dynamics of a family-run enterprise and the innovative elements that set their production apart.