Jesus Christ Superstar opened at the Jacksonville Center for the Performing Arts on Tuesday March 21st. The groundbreaking Andrew Lloyd Webber musical first opened in 1971 and has been rocking theatre since. The musical is roughly based on the Gospel’s accounts of the events leading up the crucifixion of Jesus Christ.
Todd Lieberman’s Hidden Pictures has acquired the highly anticipated Untitled Cheech & Chong Project. Written by Danya Jiminez (“Ren & Stimpy”) and Hannah McMechan (“Ren & Stimpy”), the project is a never-before-seen look into the origin of the iconic comedy duo. Kristian Mercado (If You Were the Last, Michael Che: Shame the Devil) to direct.
THE GREEN ROOM 42 will present Tony Award-nominee Sharon McNight in “Surviving Cabaret,” a storied look back at the last forty years of notable performances, on Thursday, April 13 and Saturday, April 15, both at 7:00 PM.
Signature Theatre is presenting a streaming re-release of its 2021 digital production of Simply Sondheim on March 22 in honor of the late composer’s birthday in continuation of its season-long tribute to Signature’s signature, Stephen Sondheim.
Coinciding with the launch of their new website, Marchmont House have unveiled the first events as part of their 2023 season. The range of events on offer are designed to bring people together to celebrate creativity – this ethos lies at the very heart of all Marchmont’s endeavours, from its public events to its unique artist residencies and on-site studios.
In the spirit of celebration and collaboration, Adelaide Festival Centre has commissioned a special set of brooch designs by local artists which will be available for purchase in commemoration of Adelaide Festival Centre's 50th Anniversary.
The World Premiere of Off the Map by Christine Foster is set to begin its run at Centenary Stage Company's Kutz blackbox Theatre this Thursday, March 23rd.
This weekend, Broadway World attended the premiere of The Writer, hosted by the Théâtre des Capucins. Directed by Claire Thill, the play goes over gender and interpersonal dynamics in the world of art and in society as a whole.
The immensely versatile and internationally lauded pianist and conductor Ian Hobson will present the fourth concert in his popular Robert Schumann recital series at New York's Tenri Cultural Institute.
Audible Theater will present four additional performances of Drinking in America, written by three-time Obie Award winner Eric Bogosian, starring Andre Royo, and directed by Mark Armstrong.
Paper Mill Playhouse has announced the cast and creative team for Agatha Christie’s Murder on the Orient Express by Ken Ludwig, directed by Casey Hushion. See performance dates and learn how to purchase tickets!
VAULT Festival marked the end of its decade-long run at its original venue, The Vaults on Sunday 19th March, bringing to a close a record-breaking year which welcomed more than 81,000 audience members throughout its eight week run.
Lakewood Theatre Company will begin its 71st season with six productions on its Mainstage and three productions on its Side Door Stage beginning July 14, 2023.
From the anguish of a faded southern belle to a comedic romp through Shakespeare’s love life, Independent Theatre is bringing theatrical gems to the stage as it celebrates its ruby anniversary.
Casa Mañana continues its Children’s Theatre season with Junie B. Jones Is Not a Crook, presented by Happy State Bank and sponsored by Frank Kent Cadillac. The show runs March 25 – April 9. Tickets are on sale now.
Combine a supreme farceur with a stentorian voice that thrills and you get baritone Michael Volle’s portrayal of the title role in Verdi’s FALSTAFF, which breezed into town late last week for a limited run at the Met. While we’ve had dramatic singers in the role before, they were mostly from Italian repertoire; I don’t know when the last time a Wagnerian--a Wotan from the Ring, for instance--took on this role around here, but Volle did himself proud.
Laura Mead writes with prudish humour while Keith Swainston directs her, Ned Wakeley (Dan), and Scott Henderson in a production that’s almost as uninteresting as Katie and Dan’s sex life. Mead’s script is as traditional as the missionary position, but wishes to be as funny as an inappropriate joke at a funeral. She gives her character a silver tongue and wit for days, and she’s great at delivering too, but the plot is awkwardly stale in its predictability.