BROOKLYN

by Zach Wetzel - January 10, 2026

This is a brilliant and joyous prequel to PETER PAN....

by Fran Thomas - January 10, 2026

What did our critic think of FIDDLER ON THE ROOF at Broadway Palm?...

by Gary Naylor - January 10, 2026

Denise Gough and Rosa Salazar also excel in unexpectedly deeply moving stage version of the much-loved movie...

by Armando Urdiales - January 10, 2026

The Houston Symphony’s presentation of Star Wars: Return of the Jedi in concert was a breathtaking reminder of how timeless and transportive John Williams’ score is. Performed live under conductor Steven Reineke, the orchestra did more than accompany the film. It became its pulsing soul. Each note s...

by Jade Kops - January 09, 2026

Stephen Sondheim’s fabulous music is presented in a different ‘light’ as songs from across four decades of the maestro’s work come together for PUTTING IT TOGETHER....

by Clementine Scott - January 09, 2026

Opera as a whole may be too reliant on museum pieces, on endless identikit revivals designed to secure bums on seats. But in the case of Richard Eyre’s 1994 La traviata, the old adage might be true: if it ain’t broke, don’t fix it....

by Clementine Scott - January 09, 2026

Opera as a whole may be too reliant on museum pieces, on endless identikit revivals designed to secure bums on seats. But in the case of Richard Eyre’s 1994 La traviata, the old adage might be true: if it ain’t broke, don’t fix it....

by Roy Berko - January 08, 2026

STEREOPHONIC, which is now on stage at the Connor Palace, is a 4-act, 3-hour production, was written by American playwright David Adjmi, with music composed by Will Butler.   ...

by Brett Cullum - January 08, 2026

The current BEAUTY AND THE BEAST tour is a celebration of the Broadway musical’s 30th anniversary, and a chance for director and choreographer Matt West and book writer Linda Woolverton to revisit a stage version they have been working on since it all began in Houston during 1993....

by Katie Kirkpatrick - January 09, 2026

Walking down an ominous red-lit corridor and being asked to put on over-ear headphones isn’t your typical start to a night at the theatre – but then A Ghost in Your Ear isn’t your typical play. Jamie Armitage’s second show as both writer and director (after last year’s An Interrogation) is a true ho...