Headlong announced the cast and creatives for ROBOTA, written by Ella Road and directed by Roy Alexander Weise, set to be the first full-scale production at Oxford's new Stephen A. Schwarzman Centre for the Humanities.
The Long Island Music and Entertainment Hall of Fame will host an encore screening of the award-winning documentary CAT'S IN THE CRADLE 50TH ANNIVERSARY: THE SONG THAT CHANGED OUR LIVES, featuring a Q&A with producers and a food drive benefiting Long Island Cares.
MUSE/IQUE will present BACK TO OZ, tracing Oz from the 1939 MGM film to THE WIZ to WICKED, at the Mark Taper Forum in April 2026, led by Artistic Director Rachael Worby.
The Missoula Children's Theatre's 2025-2026 Community Series will conclude with Mamma Mia! rated PG-13 and running from April 30-May 17. Learn more here!
Todd Rundgren will bring his Damned If I Do Tour to Patchogue Theatre for the Performing Arts. The concert will take place in July on Long Island. Tickets go on sale March 27.
The Aberdeen Magical Society will present '100 Years of Magic' on September 4-5, 2026, at the Aberdeen Arts Centre, celebrating a century of magical entertainment.
The Stanford Jazz Workshop has announced the 54th annual Stanford Jazz Festival at Stanford University. This year's festival will feature a diverse lineup including jazz legends and contemporary artists across various genres.
Young Gifted and Broadway hosted its 2nd annual “Spotlight Ceremony” this past weekend on June 28th, 2025 in the Barrymore Room at the Marriott Marquis. Check out photos from the event.
What did our critic think of YOUNG FRANKENSTEIN at Bellevue Little Theatre?
Radio show whodunnit blends murder mystery parlor game and old-time radio for old-fashioned family fun.
Les Ballets Trockadero de Monte Carlo, often simply referred to as 'The Trocks,' is a well-known all-male drag ballet company that parodies and pays homage to classical ballet. The company was founded in 1974 in New York City by a group of ballet enthusiasts who shared a love for dance and a desire to satirize the conventions of classical ballet. 'The Trocks,” come through Austin on tour at the Bass Concert Hall on January 19th.
Last Saturday Opera Theatre of St. Louis premiered a new adaptation of Scott Joplin’s legendary opera Treemonisha. It is a bright and worthy addition to our recent flurry of adoration of some of America’s major black composers; the Black Rep closed their stunningly fine evening of Eubie Blake’s music three days earlier.
BAT OUT OF HELL, the stadium, arena, rock concert, stage musical.
What did our critic think of WEST SIDE STORY at Porthouse/Kent State University? In the fall of 1957, I had a mind-blowing experience. I saw the newly opened Broadway production of WEST SIDE STORY. At the time, all I knew about the show was that it was based on ROMEO AND JULIET and it had opened to positive reviews two days before.
Even decades after her death, Agatha Christie remains the queen of mysteries. You could curl up in front of the fireplace with one of her 66 novels, or you can brave the cold and see Ken Ludwig's Murder on the Orient Express at Curtain Call's Dressing Room Theatre.
In 2020, it felt like the world had gone sideways and there was nothing but bullying everywhere you turned; it only seems fitting that many shows in the Valley are now performing shows dealing with the subject.
This wildly funny satirical farce questions why, in a world of bailed-out banks and overpriced prescription drugs, theft is only a crime when it is committed by those truly in need, centering on humble housewife Antonia (Kaili Hollister) who joins a revolt of women at the local supermarket as they are all hungry and fed up by rising prices and stagnant wages. Determined to live with dignity and rejecting an austere diet of dog food and birdseed which is about all Antonia can afford to buy on her husband Giovvanni's (Jeremie Loncka) wages working on the production line at a local factory, the women's protest escalates and looting ensues.
While I find Beckett's plays often too intensely intellectual for my comprehension, this was not the case with Irwin's seemingly effortless way of donning a bowler hat (or 2 or 3), juggling them until the perfect one is atop his head, and then going on to flop around the stage in his baggy pants and oversize shoes as a quintessential clown while explaining his interpretation of passages reflecting a?oethe noise of lifea?? in Beckett's a?oeText for Noting,a?? a?oeWatt,a?? a?oeWaiting for Godot,a?? a?oeEndgame,a?? and a?oeThe Unnamable.a?? It was an extraordinary evening of watching a master of the stage interpret the life and brilliance of a theatre legend.
