South Street Seaport Museum will host free Climate Film Festival screenings aboard the 1885 tall ship Wavertree, featuring short documentaries, a filmmaker panel, and audience Q&A on climate resilience.
HBO Max will add new original series and documentaries, including Sharon Horgan's comedy YOUTH, the drama prequel 4 BLOCKS ZERO, and the true-crime series A KILLER STORY.
Halifax singer-songwriter Linda MacLeod, 75, released her new single as the first preview of her forthcoming album THE WELL KNOWN UNKNOWN, capping a six-decade music career.
Center Theatre Group will bring back TWTheatricals' production of DOG MAN: THE MUSICAL, based on Dav Pilkey's bestselling books, to the Kirk Douglas Theatre in Culver City.
Delaware band DUTCHMAN recorded a version of Gordon Lightfoot's Summer Side of Life, directing all streaming royalties to the Canadian Red Cross and the Canadian Wildfire Fund.
The Bushnell has announced its 2026-2027 Broadway Series, showcasing a lineup of new Broadway hits alongside award-winning musicals. The series aims to attract theatergoers with a diverse selection of performances.
The Marcus Performing Arts Center will present the 2026/27 Johnson Financial Group Broadway season, featuring a lineup of acclaimed shows in Milwaukee. Learn more here!
The iconic rock musical HAIR will be staged at Theatre Royal Sydney, bringing its vibrant celebration of 1960s counterculture to Australian audiences. Learn more here!
The South Street Seaport Museum will host a special book club event for Black History Month, featuring 'Written in the Waters' by Tara Roberts. This free event encourages lively discussions on maritime history and cultural heritage.
Hennepin Arts has announced the 2026-2027 Broadway on Hennepin series, bringing 12 Broadway shows to Minneapolis for 14 weeks including Tony Award Best Musical winners The Outsiders, Maybe Happy Ending and Hamilton
SFJAZZ will present a diverse lineup of jazz performances in February 2026, featuring renowned artists and ensembles. The month-long event will take place at the iconic SFJAZZ Center in San Francisco.
Few realize that when reading a Peanuts comic strip, watching a television show based on the writings of Charles M. Schulz, or seeing the theatrical YOU’RE A GOOD MAN CHARLIE BROWN, a version of which is now on stage at Porthouse Theatre, that they are being exposed to the author’s religious sensibility.
What did our critic think of THE CHER SHOW at Broadway San Jose? Read our review.
VJM: Thank you both for giving of your time to answer my questions. I don’t think I’ve ever heard of two Choreographers being hired for the same Broadway show, not even a revival, that I can think of. How did that come about for both of you? Ellenore Scott: Funny Girl was my Broadway debut as a choreographer. I was so happy when I got a call from Michael Mayer (the director) asking me to work on this revival with him. He knew I was NOT a tap dancer and was aware of the multiple tap routines in the show and asked if I would be down to share the billing with Ayodele Casel. Ayo is an extraordinary artist so I was thrilled to be by her side as she made her Broadway debut as well. Michael first met me initially at Head Over Heels on Broadway where I was an associate choreographer to Spencer Liff. In 2019, he asked if I would choreograph the Off-Broadway revival of Little Shop of Horrors and we opened the show October 17th, 2019. I have loved working with Michael and feel as though he keeps his people close and I’m grateful he thought of me for this historic revival. Ayodele Casel: I met Michael Mayer in 2016 when he directed a New York City Center Encores! show I performed in. Later that fall he invited me to perform that piece in a Broadway for Hillary fundraiser he was also directing. We'd kept in touch over the years and in 2019, after seeing a show I’d premiered at The Joyce Theater, he asked if I would be interested in providing the Tap choreography for a revival he was working on. Like Ellenore shared, Michael wanted to work with us both to deliver the full choreographic vision of the show. I believe it was a very progressive vision on his part and I’m really thankful that I was able to make my Broadway debut with this team.
Jay Leno celebrated Bergen Performing Arts Center's (bergenPAC's) reopening of the theater in Englewood, N.J., with a historic drive through town and ribbon cutting. Jay Leno attended the private reception at Benzel-Busch Mercedes-Benz Automotive Dealership in Englewood, N.J. for a private reception taking photos with the Mercedes-Benz 1955 Gulfwing and the all-new AMG EQS Sedan from Benzel-Busch to bergenpac to cut the ribbon before his performance to a sold-out audience of over 1300 people. Check out photos and video here!
BONNIE & CLYDE considers the notorious duo’s desire for a better life and equally importantly, emulation of their idols fame and fortune, during the great depression.
While much of Alan Turing’s work was the subject of the Official Secrets Act, his personal life was not afforded the same anonymity and details of his sexuality overshadowed his achievements for many years. Hugh Whitemore’s BREAKING THE CODE seeks to balance the scales of the awareness of Turing achievements along with the outdated laws on homosexuality that saw the father of computer science convicted and subjected to hormone therapy which eventually broke him, physically and mentally.
ometimes it's nice not to have to follow a dramatic storyline throughout a ballet, and just be able to enjoy the performances, the artistry, the costumes, the captivating choreography and the whole presentation. This, is such a ballet. Before the performance began, there was a wonderful, informative and interesting lecture, or talk, given on the expansive and beautiful mezzanine of the Dorothy Chandler Pavilion by Elizabeth Kaye. It's worth the fight through the rush-hour traffic to get there in time to listen to her expound on the history and trademarks of this impeccable and invaluable Ballet Company. It so enhances everything when you see the performance. It is an offering from Glory Kaufman Presents: Dance at the Music Center at the Los Angeles' premiere venue for dance, the Dorothy Chandler Pavilion.
HAIR was written more than 50 years ago by Gerome Ragni, James Rado and Galt MacDermot and broke new ground in musical theatre by defining the genre of 'rock musical' as well as using a racially integrated cast and inviting the audience onstage to join in the a?oeBe-Ina?? finale. But at the time it opened off Broadway at the end of 1967, it seemed unlikely that HAIR would be relevant five decades later. A product of the hippie counter-culture, sexual revolution, and Vietnam War protests of the late 1960s, several of its songs became anthems of the anti-war movement, while its profanity, depiction of the use of illegal drugs, treatment of open sexuality, irreverence for the American flag, and full-frontal nude scene caused much comment and controversy at the time. Yet today it seems what was shocking has become so common place that even a few children were in the audience at the performance I attended.
High-minded ideals are put to the test in Guess Who's Coming to Dinner, a play with a refreshing yet familiar take on race and interracial relationships.
Well before The Met Gala's kitschy theme for 2019 inspired the likes of Lady Gaga, Jordan Roth and countess celebrities to strut their most outrageous stuff down the pink carpet, Mark Morris has been the reigning King of Camp in choreography, celebrating this gleeful genre in company classics such as The Hard Nut. This spring he elevated the playful style integrated with expressive movement in Pepperland, an exuberant homage to the 1960s counterculture and The Beatles' seminal 1967 concept album, Sgt. Pepper's Lonely Hearts Club Band.
Edward Albee, author of 'Who's Afraid of Virginia Woolf,' now in production at Beck Center for the Arts, is one of the best known Theatre of the Absurd American writers. This form of theatre, which was at its apex shortly following World War II, is based, in part on philosophical existentialism, which asks 'what is the purpose of existence?'
Like a comet that burns far too brightly to last, Janis Joplin exploded onto the music scene in 1967 and, almost overnight, became the Queen of Rock 'n' Roll. Davies carries on and mimics the unmistakable raspy voice filled with raw emotion and tinged with Southern Comfort to a tee, her stage presence making it easy to see what made Joplin a must-see headliner from Monterey to Woodstock and beyond even to this day, so many years after her too-soon passing at the age of 27. After listening to Davies' sharing of Janis' life, it is easy to think the rock legend died from not only from drugs and alcohol but from her lonely co-dependent longing for a man to share her life, equaling her love of the spotlight and adoration received from a live audience, which she could never find. Davies' renditions of Joplin favorites, including “Summertime,” “Piece of My Heart,” “Cry Baby,” and “Me and Bobby McGee” among others, ignite the stage and audiences alike with a passion no man in her life could ever match.
Subtitled 'A Light Comedy About Dark Jews,' we meet Bubby as she prepares a much-too-salty matzo ball soup for Rosh Hashana dinner in a period-perfect kitchen as the center piece of a realistic two-story set designed by Joel Daavid in anticipation of her entire family gathering to celebrate the holiday. Even her son and grandson will be there, a special evening (she hopes) as the two have not spoken to each other in years. But after continuously forgetting to bring home the chicken for dinner, Joey's alcoholic father David finally shows up at the table, causing alliances to be challenged and hopefully, new beginnings to be forged. And leave it to Zayda to show up at just the right moments to forward the story and add his own insights into his family's history and character. Oy vey!
