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Theater Preview: 43RD ELLIOT NORTON AWARDS: NOMINATIONS & CEREMONY (Boston Theater Critics Association, The Huntington)
The Boston Theater Critics Association has announced nominations for the 43rd Annual Elliot Norton Awards, a wide-ranging snapshot of the current theater season in Greater Boston. The ceremony, set for June 1 at the Huntington Theatre, includes more than 130 nominations across acting, directing, design, and production categories, along with several honors for visiting work….
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Off-Broadway Review: MILK AND HONEY (J2 Spotlight Theatre Company at AMT, NYC)
MIDDLE-AGED PEOPLE IN THE MIDDLE EAST, IN THE MIDDLE OF ADVENTURES Jerry Herman’s early musical still charms Through the magic of musical theatre, we’re vicariously taking a guided tour through Israel in the early 1960s. On your left, a group of widows seeing the sights and setting their sights on finding—maybe (who knows?)—a husband. On…
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Theater Review: THE NOTEBOOK (North American Tour at San Diego Civic Theatre)
LOVE, LOSS, AND LYRICS An earnest musical adaptation that leans into memory, even when it leans too hard The touring production of The Notebook arrives at the Civic Theatre with a built-in audience and a well-worn story to tell. Based on Nicholas Sparks’ bestselling novel and the beloved 2004 film, the musical adaptation leans into…
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Comedy Club Review: GREENPOINT COMEDY CLUB (Brooklyn)
LAUGHS LAND IN GREENPOINT A new venue brings stand-up—and a sense of community—to north Brooklyn Attention north Brooklyn residents! A new comedy club is born in Greenpoint—the first comedy club to come to the neighborhood and appropriately bearing its namesake. Settled at 66 Greenpoint Avenue, steps from a stunning view of the East River, stands…
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Theater Review: REVENGE OF THE SOY BOY (FRIGID New York City Fringe Festival)
MAY THE FUNNY FORCE BE WITH YOU A solo show that blasts fandom toxicity into hyperspace Plot a course, prime the hyperdrive, and punch it, Chewie! A sci-fi multimedia solo show lands in the 2026 FRIGID New York City Fringe Festival. “Ahsoka Tano is arguably one of the most Millennial Star Wars characters to ever…
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Off-Broadway Review: THE ADDING MACHINE (The New Group at St. Clement’s Theatre)
MAN VS. MACHINE, STILL LOSING Rice’s century-old warning lands with unsettling familiarity In its inaugural production at the newly claimed St. Clement’s Theatre, The New Group launches its next chapter with a revival of The Adding Machine that feels both like a nod to the past and a wary glance toward the future. Written by…
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Theater Review: WHAT THE CONSTITUTION MEANS TO ME (Greater Boston Stage Company)
A GREAT DEBATE A play that asks the audience to think about what the Constitution means to them When she was 15, Heidi Schreck went on tour to compete for college scholarships by delivering a talk called What the Constitution Means to Me to American Legion posts. Her talk was successful enough to pay her…
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Broadway Review: BECKY SHAW (Helen Hayes)
LOVE, LIES, AND LETHAL CHARM Gina Gionfriddo’s comedy of dysfunction refuses easy labels—and lands every blow “Rom-com?” No. “Meet-cute”? Far from it. Sitting through Becky Shaw at the Helen Hayes Theater on Broadway last night, laughing my head off, I struggled to define the genre of this captivating work by Gina Gionfriddo. And I’m still…
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Theater Review: LOVE! VALOUR! COMPASSION! (Dezart Performs, Palm Springs)
A SUMMER OF MEMORY AND LOSS A moving revival that transforms urgency into reflection without losing its emotional core The lights went down at Dezart Performs’ gorgeous new home on Saturday, and I’ll be honest—my heart was in my throat before a single line was spoken. Having been in the audience for the Broadway premiere…
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Theater Review: WHAT PRICE FREEDOM (Moving Arts Theatre, Los Angeles)
FOUNDING FATHERS, FOUND WANTING A promising historical premise undone by uneven writing What Price Freedom, by Tony Blake, having its world premiere at Moving Arts Theatre, recounts one of the more unusual moments in the course of the American Revolution: when John Adams (destined to be the second president of the United States) and Benjamin…
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Theater Review: WHEN PLAYWRIGHTS KILL (Huntington Theatre, Boston)
TURNING A THEATRICAL LEMON INTO FIZZY LEMONADE Matthew Lombardo spins a true-life theatrical disaster into a relentlessly funny backstage comedy According to Nora Ephron, who turned her husband’s infidelity into a best-seller and screenplay for the novel and the movie Heartburn, “Everything is material.” But she didn’t say it should be hilarious material. If she…
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Broadway Review: DOG DAY AFTERNOON (August Wilson Theatre)
HOLDING UP UNDER PRESSURE A bold stage adaptation that captures much —but not all—of the film’s tension Adapting an iconic film like Dog Day Afternoon for the stage is a challenge. There are still many people who remember Al Pacino yelling “Attica!” to the cheering crowd and his intense phone conversation with his wife. But…
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Theater Review: GOODNIGHT MOON (Chicago Children’s Theatre)
A GREAT, GREEN ROOM YOU’LL NEVER WANT TO LEAVE Chicago Children’s Theatre closes out its 20th anniversary season with a picture(book)-perfect triumph! “I wish I might, I wish I may / go live inside my book / to stay in the great, green room” There have been some remarkably effective immersive sets in Chicago black-box…
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Theater Review: KNIFE TO THE HEART (Desert Ensemble Theatre in Palm Springs)
A FINAL BOW WITH HUMOR AND HEART DET closes its run with a sharp, funny family comedy about tradition and change There is a bittersweet irony in Desert Ensemble Theatre choosing Knife to the Heart for its final bow. For fifteen seasons, DET has been a home for sharp, thoughtful theater in the Coachella Valley,…
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Theater Review: THE GOAT, OR WHO IS SYLVIA? (Shotgun Players, Berkeley)
A MODERN TRAGEDY IN PLAIN SIGHT Albee’s shocking premise unfolds with the inevitability of Greek drama Playwright Edward Albee remains one of the most incisive chroniclers of American family life, exposing its fractures with wit, precision, and a willingness to disturb. His 1962 masterpiece, Who’s Afraid of Virginia Woolf?, set the template—an outwardly successful couple…
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Preview: THE MUSIC THAT MAKES ME DANCE: THE SONGS OF JULE STYNE (El Portal Theatre, North Hollywood)
EVERYTHING’S COMING UP JULE Broadway’s golden-age hits return in a world premiere revue that treats them as living drama Jule Styne’s name tends to arrive attached to titles that feel immovable. Gypsy. Funny Girl. Gentlemen Prefer Blondes. The songs have outlived their original performers, yet they still seem written for bodies onstage, for voices under…
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Preview: KISS OF THE SPIDER WOMAN (Palm Canyon Theatre, Palm Springs)
DESIRE, DANGER, AND A SONG TO SURVIVE Palm Canyon Theatre dives into one of Kander and Ebb’s most intoxicating musical Palm Canyon Theatre brings bold heat to the desert with Kiss of the Spider Woman, the Tony Award-winning musical by John Kander and Fred Ebb, with a book by Terrence McNally, running April 17–26, 2026….
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Off-Broadway Review: THE PUSHOVER (John Patrick Shanley World Premiere, Chain Theatre)
POWER, CONTROL, AND WHAT LURKS BENEATH Shanley’s psychological thriller simmers with tension, even when it overreaches John Patrick Shanley digs back into power and vulnerability in The Pushover, a world premiere now at the Chain Theatre. Directed by Kirk Gostkowski, the play feels like a ring where everyone is both throwing punches and asking for…
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Theater Review: THE MERRY WIVES OF WINDSOR (Chicago Shakespeare Theater)
WHEN SHAKESPEARE NEEDS A LITTLE HELP Physical comedy drives the laughs—sometimes to excess—in Phillip Breen’s energetic production The Merry Wives of Windsor is not one of Shakespeare’s most popular comedies, and its origins may partly explain why: Falstaff appeared in the Henry plays, and his character became immensely popular. Queen Elizabeth I reportedly commissioned Shakespeare…
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Theater & Concert Preview: MY FAIR LADY IN CONCERT (Pacific Symphony in Costa Mesa)
THE RAIN IN SPAIN, UNRESTRAINED At full symphonic scale, My Fair Lady finally sounds the way it was written to be heard George Bernard Shaw got what he deserved. He spent decades refusing to let anyone set Pygmalion to music, having been burned once already by an operetta adaptation of Arms and the Man that…
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