Just So

We need plays like Aurin Squire's “My Favorite Psychopath” to remind us that when it comes to shameless, yellow journalism, we have nobody to blame but ourselves. Squire offers us a finely-crafted portrait of digital-age journalism in all its messiness, and director Céline Rosenthal has created a truly riveting, disturbing evening of theatre which should trouble us all, long after we’ve headed home.

'On Your Feet!' The Story of Emilio and Gloria Estefan storms into Makati's Proscenium Theater not simply as a jukebox musical but as a lively celebration of rhythm, resilience, and cultural spirit.

It's like a war-themed version of Love Letters, both characters brought to life by superb performances by Cameron Kubly and Katie Davis.

In 2026, Pilobolus' 'rebellious dance' isn't merely countercultural subversion. It's a vital reimagination of what dance—and watching dance—is and can become.

Jim Carrey is looking to reprise his role as the infamous Christmas-stealing character in a sequel to the hit 2000 blockbuster, Dr. Seuss’ How the Grinch Stole Christmas. If it moves forward, the actor and comedian, who remains largely out of the spotlight, will reunite with director Ron Howard for another go at the Dr. Seuss character.

An interview with the director of Beth Antikoni, now on stage at Bag & Baggage Productions in Hillsboro.

Whether you’re a #1 fan of Stephen King or just coming in the door, this MISERY is worth enduring. The acting is top-notch, and the tech puts the film to shame.

'I say it a lot. Our situation would not work for everybody, for all couples, but somehow, someway, what proves to us that we’re meant for each other is that we are together all the time.'

This is a light-weight but entertaining night out.

There were so many magical moments with this show that it is hard to keep track of them all. Teh opening set the stage and With this opening, the show creates a magical bond with the audience, one that would not be broken until long after leaving the theater.

The Bent, the Coachella Valley’s LGBTQ+ theatre company, is presenting its first musical, A MAN OF NO IMPORTANCE, written by Terrence McNally (book), Stephen Flaherty (music), and Lynn Ahrens (lyrics). The writers and composer have put together a moving book, lyrics, and score that create a deeply affecting and emotional story, with just enough hilarity to soften the upsetting moments. The brilliant acting, singing, directing, and design make this show a must-see.

The acting in this production of Assassins is phenomenal, giving the audience the unsettling experience of relating to these characters as they plot and execute their assassination attempts. Assassins is a musical that will speak to many today.

Out of the Box Theatre Company’s upcoming production of Stephen Sondheim’s “Assassins” opens at Center Stage this Friday night. Expect a rogue’s gallery of America’s presidential assassins (and try-hard assassins) who feel no remorse whatsoever for their crimes. And, in a way that only Stephen Sondheim’s musicals can finesse, it’s a comedy. It also shows the continuity and change of political violence in America. 

Gordon Bovinet has had long and storied career in Musical Theater, Opera and as one of the most in-demand vocal coaches in Europe. He is in town this week to celebrate his 80th birthday and to take in a performance of the show that launched his career: CATS – or in this case: CATS: JELLICLE BALL!

Steppenwolf Theatre Company, the nation’s premier ensemble theater company, is pleased to continue its 50th Anniversary Season with August Strindberg’s master class in marital warfare The Dance of Death, adapted by Conor McPherson, directed by ensemble member Yasen Peyankov and featuring an all ensemble cast. 

Carolyn Lucas was studying dance in college when a friend took her to see iconic postmodern dance choreographer Trisha Brown (1936–2017) and her eponymous company at the Brooklyn Academy of Music. The experience changed her life and launched her career, according to Lucas.

Patti LuPone gave a passionate speech during a recent Carnegie Hall concert, calling our Trump's recent changes to the Kennedy Center. Watch the video, along with responses from Tyne Daly and Betty Buckley.

The large majority of our 41 Broadway theaters were built to be Broadway theaters. Other than the Winter Garden, which was originally a horse exchange, the Nederlander, which was originally a carpenter’s shop, and the Broadway and Lunt-Fontanne which were originally movie theaters, every current Broadway house was intended from the beginning to present Broadway shows. As for off-Broadway? The opposite is true.

We had the pleasure of interviewing Andy Chiang of the Nai-Ni Chen Dance Company about the dance company and the upcoming performances to celebrate Year of the Horse at NJPAC.

To say that the Tony Award-winning 2022 musical “Some Like It Hot,” which Broadway in Boston is presenting at Citizens Opera House through February 8, has quite a pedigree is putting it mildly.

While much of the dramatic weight of Angels in America undeniably stems from the specter of AIDS, it would do the play a huge disservice to reduce it to a story about disease alone. What Theater West End makes clear is that Kushner’s work is as much about identity, loss, and the human struggle to reconcile who we are deep down with who we present to the world.

Omaha Community Playhouse has opened their 2026 season with a heavy hitting winner. August Wilson’s THE PIANO LESSON won a 1990 Pulitzer and was nominated in five categories for a Tony Award.

The Broadway production of Ragtime was a glorious accomplishment, a riveting testament to the original American musical and to all that America itself could be. The show ran for 834 performances at the Ford Center, closing in the final year of the 20th century. It was nominated for 13 Tony Awards, taking home four.

It wasn’t until later on in theatre history that revivals began including shows that weren’t initially well received or financially successful in their initial engagements. As musical theatre continued to evolve, and more shows entered the canon, a consensus began to grow about shows being worthy of additional exploration even if they hadn’t been hits the first time around. What about musicals that had been ahead of their time, musicals that had fallen prey to circumstances, early works by writers who became successful later on, and of course, shows that found an audience after closing via their cast recordings?

The idea of the concept album took flight at the same time as the idea of the rock musical. A concept album introduces audiences to the score of a musical by deliberately releasing an album of the songs before any live production exists at all. The concept album ostensibly stands on its own terms.