
Andrew Child
Andrew is a multimedia artist who has worked regularly as a director, animator, performer, and designer. His writing focuses on the complete arts ecosystem. He has been a guest artist at Emerson College, New England Conservatory, New York University, Clark University, Massassoit Community College, and more, and has been quoted in the New York Times, Chicago Tribune, LA Times, Boston Globe, and others. You can hear him on the Broadway Podcast Network interviewing acclaimed artists, scholars, and historians for 50 Key Stage Musicals: The Podcast, or you can read his chapter on The Merry Widow in Routledge Press' 50 Key Stage Musicals.
Learn More About Andrew Child
First Show
The first show I saw was a production of 'Annie' at my local high school.Favorite Show
My favorite shows (in no particular order) I've ever seen are: Sammi Cannold's original production of 'Endlings' by Celine Song (A.R.T.), Zack Winokur's premiere of Davóne Tines' and Michael Schachter's 'The Black Clown' (ironically from the same season at the A.R.T.), Lee Sunday Evans' original restaging of 'Dance Nation' by Clare Barron (Steppenwolf), Suse Wächter's 'Brecht's Gespenster' (Berliner Ensemble), Joel Grey's 'Fiddler on the Roof' (National Yiddish Theatre Folksbiene), Faye Driscoll's 'Thank You for Coming: Space' (REDCAT), William Kentridge's 'The Great Yes the Great No' (Wallis Annenberg), Nora Chipaumire's 'Dambudzo' (REDCAT), Michael Arden's revival of 'Once on this Island' (Circle in the Square), and Summer Williams' production of 'Wolf Play' by Hansol Jung (Company One).Favorite Stories
- Review: WOLF PLAY at Company One Theatre - Writing this article was such a treat because I was genuinely energized and thrilled when I left Boston Public Library after this production. I love puppetry, and seeing the art form elevated to such an emotional state was riveting.
- Making Space for Gender-Queer Voices (and Making Sure to Pay Them Too) - Though I engaged in the interviews in this series years ago, there is still so much I reflect on from my conversations. Theatre still needs to be making space for gender-expansive voices and the charge must be led by a varied cohort of gender-expansive artists and administrators. This article scratches the surface, not only of what the problems are, but what the future could hold.
- Review: A HIT DOG WILL HOLLER at Skylight Theatre Company & Playwrights' Arena - I had only been living in LA for two months when I got to review this show and had already started to form a rather bleak judgement on the state of theatre in the city (we were all rebuilding after the lockdown still). I was happily surprised by this world-class premiere by a world-class author in a tiny black box behind a book shop. I still point to this production when people drone on about how LA is "not a theatre city"!
- Feature: HOORAY LA at Bob Baker Marionette Theater - I've loved every moment I've gotten to spend within the red velvet-decked halls of the Bob Baker Marionette Theatre. The shows are delightful and rife with unparalleled artistry. It was wonderful getting to chat with head puppeteer Alex Evans about this stunning tribute to LA.
- Review: KATE at Pasadena Playhouse - Sometimes it's difficult writing about an artist of whom you are a fan. Though a major Kate Berlant stan, this show was easy to review. It was thought-provoking, risky, strange, and theatrically-rich, all while packing laughter from beginning to end.
Most Popular Articles


Review: AMADEUS at Pasadena Playhouse
February 17, 2026

Review: WEST SIDE STORY at LA Opera
September 22, 2025

Interview: Jane Don't of DON'T DOES AMERICA at Dynasty Typewriter
July 3, 2026
Jane Don’t views her crowd-pleasing turn on RuPaul’s Drag Race as a springboard that has allowed her to make the kind of drag she has always wanted to make.

Interview: Brian Quijada And Nygel D. Robinson of MEXODUS at Pasadena Playhouse
July 6, 2026
“If you want to see a piece of Latino theatre, you see something like In the Heights.

Review: THE MAGIC FLUTE at LA OPERA
June 4, 2026
Suzanne Andrade and Barrie Kosky’s Magic Flute returns to LA Opera with a whimsical fusion of animations by Paul Barritt.

Interview: Petey McGee of PRIMARY TRUST at Center Theatre Group
May 26, 2026
Petey McGee is preparing to play Kenneth in Eboni Booth’s Primary Trust at CTG, and the process has invited him to reflect on how being an outsider affects each of us.

Review: BRIGADOON at Pasadena Playhouse
May 18, 2026
Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: PUCK BUNNIES: A HEATED RIVALRY DRAG MUSICAL PARODY at Dynasty Typewriter
May 17, 2026
Puck Bunnies, a musical from the minds of Kyra Brown and Christian Leonard lovingly lampoons the ludicrousness of this love story through heightened impersonations, witty pop culture needle drops, and a boatload of silliness.

Interview: Hamid Rahmanian of SONG OF THE NORTH at Pasadena Playhouse
March 19, 2026
“Iran is a symphony and in the west, you only heard one drum beat from that composition.

Review: FOURSOME at IAMA Theatre Co. & Celebration Theatre
March 15, 2026
This is inside baseball with tensions, heartaches, and personal touches that no one wants to have to explain afterward to their token straight friend.

Review: AKHNATEN at Los Angeles Opera
March 13, 2026
Glass feels to be in direct conversation with grand opera, layering incantations from the chorus over triangulations of notes played nearly ad nauseam on violas to evoke something of the mystery that shrouds ancient Egypt in western culture.

Review: Patti LuPone's MATTERS OF THE HEART at LA Opera
March 2, 2026
LuPone has woven an unexpected, eclectic musical collage that leads to two clear conclusions; she knows what sounds good in her voice and she knows how to sell a song.

Review: AMADEUS at Pasadena Playhouse
February 17, 2026
Director Darko Tresnjak has crafted a visually-appealing world that unfortunately reduces the action of the play to broad strokes enacted in a toy theatre.

Previews: CHOO CHOO REVUE at Bob Baker Marionette Theater
January 14, 2026
Taking the form of an imaginary train ride, the performance will feature meticulously-crafted marionettes representing flora and fauna of regions across an imaginary landscape fused with whimsy and a cartoonish sensibility.

Review: THE JINKX & DELA HOLIDAY SHOW at Dolby Theatre
December 17, 2025
Drag legends Jinkx Monsoon and BenDeLaCreme have crafted an extravaganza that combines all the stupidity and raunchiness of a campy nightclub act with all the sparkle and polish of the lighter fare being doled out at Radio City this time of year.

Review: LA BOHÈME at LA Opera
December 2, 2025
Herbert Ross’ production of Giacomo Puccini’s La Bohème currently being presented by LA Opera has everything an audience venturing to the opera could hope for.

Interview: Victoire Charles of JAJA'S AFRICAN HAIR BRAIDING at The Mark Taper Forum
October 5, 2025
When Victoire Charles first read Jaja’s African Hair Braiding by Jocelyn Bioh, it became the second play she had ever read in which she immediately knew she wanted to be involved.

Review: WEST SIDE STORY at LA Opera
September 22, 2025
When the iconic ‘Prologue’ begins to simmer, the gang of Jets loitering about the stage in Jessica Jahn’s contemporary streetwear, bedecked in tattoos and bomber jackets may immediately perturb any purists in the audience.

Interview: Teddy Bergman of EUREKA DAY at Pasadena Playhouse
September 14, 2025
“Because of how long it takes to write and develop a play, you need a writer who is a bit ahead of the curve.

Review: OEDIPUS THE KING, MAMA! at The Getty Villa & Troubadour Theater Company
September 5, 2025
Regular attendees of the Getty Villa’s annual summer show are in for a change of pace this season.

Interview: Rachel Simone Webb of & JULIET at Ahmanson Theatre
August 13, 2025
'& Juliet' is a story about a marital quarrel, but it has a lot of heart and it has a lot of comedy.

Interview: Brian Henson of PUPPET UP!- UNCENSORED at Kirk Douglas Theatre
July 15, 2025
“With a puppet,” Henson muses, “ we are given license from the audience— with an actor, an audience makes assumptions based on race, skin color, build— but with a puppet that’s all out the door.
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