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Theater Review: TOPDOG/UNDERDOG (Steppenwolf Theatre Company / Chicago)
THE HOUSE ALWAYS WINS Kenny Leon finds new layers in Suzan-Lori Parks’s riveting battle between two brothers trapped by history, rivalry, and the roles they perform Topdog/Underdog by Suzan-Lori Parks is lauded as one of the greatest American plays of the 21st century, and it’s earned that label through blistering and rhythmic language, tension so…
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Theater Review: PURPOSE (Huntington Theatre Company / Boston)
THE POLITICAL IS PERSONAL Purpose is an exciting and morally complex opening to the Huntington’s 2026-2027 season Playwright Branden Jacobs-Jenkins‘ Purpose is an intriguing family drama that gives us a narrator with unconventional sexuality and social needs in the context of a prominent and deeply troubled family of origin. Omari K. Chancellor shines as Nazareth…
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Dance Review: DANCE THEATRE OF HARLEM (The National Theatre / Washington, D.C.)
FLIGHT, FLAIR, AND FIRE Three strikingly different ballets showcase Dance Theatre of Harlem’s range, from classical precision to Caribbean splendor and R&B exuberance Dance Theatre of Harlem’s performance in Washington, D.C., co-presented by Washington Performing Arts, was an exhilarating celebration of artistry, culture, music, and movement. The program brought together three very different works, Return,…
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Broadway Review: SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY (Manhattan Theatre Club / Samuel J. Friedman Theatre)
BEAUTY IS ONLY SKIN DEEP Jocelyn Bioh gives the familiar mean-girl story a funny, painful twist in a terrific Broadway production The “mean girls” trope, that group of popular girls usually led by a demanding, beautiful, powerful yet damaged girl, is at the center of many a successful entertainment. From Heathers to Carrie to Hairspray…
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Cabaret Review & Preview: SONGBOOK SUNDAYS (Dizzy’s Club / New York)
A DIZZYING ARRAY OF SONGWRITERS AT DIZZY’S A playful look back at a Cole Porter salute sets the stage for Songbook Sundays’ upcoming celebration of Kander and Ebb on October 4 A review of Songbook Sundays’ It’s All Right with Cole Porter on April 12 at Dizzy’s begins in the form of three sets of…
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Theater Review: NORTH BY NORTHWEST (American Conservatory Theater / San Francisco)
WRONG TURN AT MOUNT RUSHMORE Emma Rice sends Hitchcock’s classic thriller spinning into musical-comedy territory, with decidedly mixed results American Conservatory Theater opens its 60th season with Emma Rice’s stage adaptation of Alfred Hitchcock’s 1959 classic North by Northwest, which starred Cary Grant and Eva Marie Saint. Taking such an iconic film and adapting it…
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Theater Review: LITTLE SHOP OF HORRORS (New Conservatory Theatre Center / San Francisco)
A LITTLE SHOP WITH A BIG BITE NCTC’s colorful, high-energy revival feeds on terrific voices, sharp comedy, and one increasingly hungry plant New Conservatory Theatre Center starts its 2026–27 season with a musical that is a fun musical as well as a dark comedy. With book and lyrics by the late, great Howard Ashman and…
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Theater Review: THE SHAWSHANK REDEMPTION (Desert Theatreworks / Indio)
AN ARRESTING START TO THE SEASON An intimate staging and several compelling performances give this familiar prison drama new life Desert Theatreworks kicks off its 2026–27 season with The Shawshank Redemption, adapted from Stephen King’s novella by Dave Johns and Owen O’Neill. With a dozen men on DTW’s smallest stage, the production, directed by Lance…
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Theater Review: COME FROM AWAY (North Shore Music Theatre / Beverly, MA)
WHEN YOU’RE HOPING FOR A HARBOR A stirring in-the-round production finds hope, humor, and humanity in the strangers who became a community Director Kevin P. Hill’s production of Come From Away lands at North Shore Music Theatre as a timely reminder of human grace and community in the face of adversity. Irene Sankoff and David…
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Off-Broadway Review: THE CHERRY ORCHARD (North American Premiere / Park Avenue Armory)
CHERRY PICKING Simon Stone’s riveting Korean adaptation keeps Chekhov’s plot while stripping away much of what made it Chekhov “Chekhov, everywhere, all at once!” That’s what it has been like these past two seasons. Today’s theatre artists are reimagining Chekhov’s plays in new and surprising ways. Thomas Ostermeier’s The Seagull in London featured an acrobatic…
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Off-Broadway Review: HUMAN THINGS (The West End Theatre / New York)
NO COUPLE IS AN ISLAND Joshua Owen’s warm and funny tragicomedy finds two marriages weathering storms of very different kinds A marriage can be its own world, with inside jokes, shared memories, and shared rapport. In Joshua Owen’s Human Things, making its world premiere at the West End Theatre, a couple’s world is their own…
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Dance Review: LILIOM (Joffrey Ballet / Chicago)
A BLUE-SKY BALLET WITH A DARK HEART John Neumeier turns a brutal tale of love, violence and redemption into an exquisite and haunting ballet The first thing you notice on stage when you walk into the theater is a small slice of startling blue sky in a sea of grey: a window into a different…
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Theater Review: THE ATTIC: THINGS I’VE SEEN WHILE LYING ON MY BACK (Goodman Theatre / Chicago)
A LIFE IN THE AIR Shana Carroll’s extraordinary theatrical memoir finds wonder in the moments between falling and flying Well, it’s finally happened; I’ve been rendered speechless. The Attic, subtitled Things I’ve Seen While Lying on My Back, is unlike anything I’ve seen on a stage. Is it a drama? A musical? A ballet? A…
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Theater Review: THE SCORE (Shakespeare Theatre Company / US Premiere / Directed by Trevor Nunn)
WHEN GENIUS MEETS POWER Brian Cox’s magnificent Bach reminds us that kings disappear while great music endures What happens when artistic genius meets absolute power? The Score, written by Oliver Cotton and directed by Trevor Nunn, brings Johann Sebastian Bach and Frederick the Great face to face in a compelling clash between a king accustomed…
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Theater Review: THE WOMEN OF LOCKERBIE (The Actors’ Gang / Culver City)
GRIEF IN MOTION Christina Harris keeps Deborah Brevoort’s meditation on loss moving with remarkable theatrical urgency There is very little stillness in The Women of Lockerbie, and that turns out to be one of the great strengths of Christina Harris’s superbly directed production at The Actors’ Gang. Deborah Brevoort’s play takes place seven years after…
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Theater Review: GOOD NIGHT, OSCAR (North Coast Repertory Theatre / Solana Beach)
WELL ABOVE PAAR FOR THE COURSE David Corlew gives a gripping performance as Oscar Levant in this darkly funny and increasingly tense backstage drama To put it mildly, Oscar Levant, the brilliant mid-century pianist known equally for his Oscar Wilde-like wit (“I knew Doris Day before she was a virgin”), wasn’t a happy-go-lucky kind of…
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Off-Broadway Review: ARIAS WITH A TWIST (HERE Arts Center / NYC)
WHEN DREAMS GET A SECOND ACT Nearly two decades later, Joey Arias and Basil Twist’s downtown fantasia returns with its imagination, naughtiness, and joyful strangeness intact Back in 2008, when iPhones were a year old and Instagram might’ve been a cookie mix, Arias With A Twist burst onto the downtown New York theater scene. Part…
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Theater Review: INTO THE WOODS (South Coast Repertory / Costa Mesa)
WISHING FOR MORE Beautiful voices aren’t enough to cast the spell this Sondheim classic demands It seems like there’s always a production of Stephen Sondheim and James Lapine’s Into the Woods running nearby. Last weekend, South Coast Repertory in Costa Mesa opened its production, just a week before Morgan-Wixson in Santa Monica opens theirs, so…
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Theater Review: LEGALLY BLONDE (Berkeley Playhouse / Berkeley)
BEND, SNAP, AND BELIEVE IN YOURSELF Berkeley Playhouse gives Elle Woods plenty of energy, heart, and high-octane dancing in a buoyant musical about refusing to be underestimated Berkeley Playhouse opens its 2026–27 season with Legally Blonde: The Musical, the stage adaptation of the popular 2001 movie starring Reese Witherspoon. With music and lyrics by Laurence…
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Theater Review: MA RAINEY’S BLACK BOTTOM (Round House Theatre / Bethesda, MD)
THE BLUES MEAN BUSINESS A superb ensemble brings August Wilson’s recording studio to life as music, ambition, and exploitation collide There is something almost intoxicating, and ultimately suffocating, about being inside the recording studio with the musicians in Round House Theatre’s production of August Wilson’s Ma Rainey’s Black Bottom. Music, laughter and teasing fill the…
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