Review: THE CAROLE KING AND JAMES TAYLOR STORY at BroadStage
by Shari Barrett - May 8, 2026
While harmonizing to perfection, Katis rules the piano with the sensitivity necessary to realistically perform King’s songs of self-awareness and the longing to find your place in the world, while Clews’ finger-picking expertise on guitar adds a real sense of introspective musical magic to Taylor’s.
Review: Music Carries the Day in The Umbrella Stage Company's HAIRSPRAY
by R. Scott Reedy - May 6, 2026
In most, if not all, other mountings of “Hairspray: The Broadway Musical,” Tracy Turnblad is tucked under her bedcovers when audiences first see the young heroine, ready to show off her high-teased bouffant and let loose with the first notes of the rousing opener, “Good Morning, Baltimore.”
A History of Musicals About Friendship
by Jennifer Ashley Tepper - May 10, 2026
Friendship is nearly always a side element in musicals. From the comic sidekick of the leading character to the backup pals who provide background vocals, friends are part of the fabric of many shows—but rarely are they the main event.
HAIRSPRAY To Be Performed By New Village Arts
by Marissa Faith Curley - May 2, 2026
New Village Arts (NVA) has announced it's production of Hairspray which will be in performances later this summer. As the largest production in NVA’s history, this staging is noted to raise the bar for what’s possible on the Ray Charles.
HAIRSPRAY Will Come to Derby Dinner Playhouse in April
by Stephi Wild - Mar 31, 2026
DERBY DINNER PLAYHOUSE will present the Broadway musical HAIRSPRAY, opening April 1, 2026, in Clarksville, Indiana. The production features a cast led by Katelyn Webb and includes iconic songs from the show.
HAIRSPRAY Comes to Fort Lauderdale in April
by Stephi Wild - Mar 12, 2026
Slow Burn Theatre Company will bring the ultimate feel-good musical to Fort Lauderdale this April with Hairspray, the eight-time Tony Award-winning smash hit, running Saturday, April 11 through Sunday, April 26.
Review: Umbrella Stage Company's TO KILL A MOCKINGBIRD Keeps Harper Lee Classic Vividly Alive
by R. Scott Reedy - Mar 10, 2026
Harper Lee’s Pulitzer Prize-winning 1960 novel “To Kill a Mockingbird,” about the fictional small town of Maycomb, Alabama, in the Depression-era South grappling with violence and racial inequality, along with issues of class, courage, and compassion, is a classic of modern American literature and one of the best-selling books of all time.
Review: THE DANCE OF DEATH at Steppenwolf Theatre Company
by Rachel Weinberg - Feb 19, 2026
When I think of Steppenwolf, I often think of family members crying, screaming at one another, or some combination of the two. So the sparring between spouses Alice and Captain Edgar in August Strindberg’s 1900 play THE DANCE OF DEATH feels right at home. In a surprisingly funny and sharp version from accomplished Irish playwright Conor McPherson and direction from Steppenwolf ensemble member Yasen Peyankov, Kathryn Erbe and Jeff Perry go toe-to-toe as a troubled married couple about to celebrate their silver anniversary.
Review: PIERROT LUNAIRE, Royal Ballet And Opera - Linbury Theatre
by Matthew Paluch - Feb 11, 2026
Marcelino Sambé currently stars in the revival of Glen Tetley’s Pierrot Lunaire at the Royal Ballet and Opera's Linbury Theatre and is supported by a very strong cast of Mayara Magri and Matthew Ball. And an even stronger presence in the soprano Alexandra Lowe.
Review: South Coast Repertory Presents GOD OF CARNAGE
by Michael Quintos - Feb 10, 2026
Wildly surprising and deliciously savage, Yasmina Reza's machete-edged 2006 dark comedy GOD OF CARNAGE—here directed by Marco Barricelli and continues performances at OC's South Coast Repertory through March 21, 2026—has to be one of the most ferocious dissections of modern-day performative civility ever to grace the stage—an 80-minute, intermission-less pressure cooker that gleefully burns away the polite veneer of bourgeois adulthood to reveal the petulant, immature children actually lurking just beneath. Boosted by a foursome of terrific actors, the play endures as entertainingly voyeuristic in its unsettling relatability. SCR's outstanding production is a brilliantly observed theatrical skirmish—equal parts comedy of manners and psychological boxing match with no clear winners or losers.