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Theater Review: COME FROM AWAY (A Noise Within / Pasadena)
A ROCK-SOLID ACT OF HUMANITY Julia Rodriguez-Elliott directs a stirring, beautifully performed celebration of compassion in the darkest of times Irene Sankoff and David Hein’s historical musical, Come From Away, chronicles a day when 38 airliners, mainly international carriers, were abruptly denied permission to land in New York or remain in American airspace. Celebrating its…
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Theater Review: & JULIET (North American Tour / McCallum Theatre / Palm Desert)
POP GOES THE SHAKESPEARE A dazzling cast and spectacular production numbers can’t disguise the musical’s lack of dramatic depth What if Juliet had decided that Romeo simply wasn’t worth dying for? That is the premise of & Juliet, the candy-colored jukebox musical that opened Tuesday at the McCallum Theatre in Palm Desert, where the national…
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Dance Review: LONDON CITY BALLET (The Joyce Theater / New York)
FROM DEVILISH FOOTWORK TO GHOSTLY MEMORIES A richly varied program moves from dazzling virtuosity to poignant reflections on loss and artistic memory Christopher Marney’s London City Ballet is back at The Joyce with a program that travels from virtuoso display to profound introspection. I caught the first program, an attractive mix of established masters and…
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Theater Review: ASSIMILATION (Word for Word / San Francisco)
ONE FOR THE HEART A tender romance outshines a less engaging character study Word for Word is known for staging fiction by renowned authors, literally ‘word for word.’ This time, the company pairs works by E. L. Doctorow and Tatyana Tolstaya, both of Russian descent. Their separate stories are each about Russians who have immigrated…
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THE EVOLUTION OF LIVE THEATER: HOW STAGE PERFORMANCES HAVE CHANGED OVER THE YEARS
Introduction People have been gathering to watch live theater for centuries, and somehow it’s still holding its own as a big part of human culture. It kicked off with open-air shows in the ancient world and has ended up in modern productions loaded with clever lighting, booming sound systems and digital tech, reinventing itself plenty…
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Theater Review: DR. JEKYLL AND MR. HYDE (Merrimack Repertory Theatre / Lowell, MA)
FOUR HYDES ARE BETTER THAN ONE A clever adaptation explores the many faces of evil and the desires that bring them to life Adapted in 2008 from Robert Louis Stevenson’s 1886 gothic horror novella Jeffrey Hatcher‘s Dr. Jekyll and Mr. Hyde is an exploration of a well-known tale about how humanity, desire, and temptation interact….
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Theater Review: BLIND RUNNER (South Coast Repertory / Costa Mesa)
GUIDE MAY NOT PULL A compelling cast cannot overcome a production that favors metaphor over political reality In para-athletics, a blind runner and her guide share a short tether. The guide calls the turns and sets the pace, but the rules forbid him to pull. Amir Reza Koohestani‘s Blind Runner, performed in Persian with English…
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Theater Review: BOBBY ROBOTOWITZ (IAMA Theatre Company and InHouse Theatre / L.A.)
WHAT’S BOT TO LOVE? A virtual companion becomes all too real in Matt Schatz’s intimate, thought-provoking play about AI, loneliness, and the dangers of digital devotion What begins as an amusing technological flirtation gradually raises some uncomfortable questions about just how much of ourselves we’re willing to surrender in Bobby Robotowitz by Matt Schatz. Produced…
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Opera Review: QUEENEY TODD: THE DEMON BOTTOM OF FLEET STREET (Heartbeat Opera, NY)
A CUT ABOVE THE REST Heartbeat Opera’s gloriously filthy Halloween extravaganza gives Sondheim’s demon barber a decidedly different kind of clientele After sunset, the official hours of Judson Memorial Church may be over. But inside, worship is very much in session with the delightfully deranged Queeney Todd: The Demon Bottom of Fleet Street. A musical…
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Theater Review: MUD ROW (Remy Bumppo / Chicago)
BUILT ON SHAKY GROUND The direction dazzles, the acting impresses, but the writing falls short It doesn’t help Mud Row that it’s the second Dominique Morisseau play performed on a Chicago stage this year, after the excellent Confederates at RedTwist. The two plays share a great deal in common, both thematically and (especially) in how…
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Concert Review: 007: JAMES BOND FOREVER (New York Pops / Carnegie Hall)
FROM CARNEGIE WITH LOVE Lena Hall brings power, style, and versatility to a celebration of six decades of James Bond music The James Bond franchise includes twenty-five films produced in sixty-four years. The films’ theme songs have been sung by major artists and sometimes became major hits. So it’s not surprising that when Tony Award-winner…
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Theater Review: THE WINTER’S TALE (Chicago Shakespeare Theater)
A TALE OF TWO PLAYS A gripping first act gives way to overplayed comedy before Edward Hall finds an enchanting, bittersweet finale The Winter’s Tale has long been considered one of William Shakespeare’s problem plays, whiplashing as it does between an intense drama and a light-hearted pastoral, and throwing in a sixteen-year gap into the…
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Theater Review: HOUSE OF THE EXQUISITE CORPSE VI: LULLABIES (Rough House Puppet Arts / Chicago)
A LITTLE PEEP GOES A LONG WAY The artistry is extraordinary, even when individual stories fall short It begins like clockwork when October comes around: there’s a fresh nip in the air, the leaves start to turn, the streaming services are suddenly inundated with scary movies, and that unholy blend of cloves, ginger, cinnamon, nutmeg,…
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Theater Review: JOB (Cygnet Theatre / San Diego)
A “JOB” WELL DONE Two impeccable performances turn a routine therapy session into an unpredictable psychological duel When two unconnected friends hear that you’re going to a play and each writes you separately to say, “Call me right after the show! I want to discuss this one with you, especially the ending!” you know you’re…
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Off-Broadway Review: AFTERMATH (A.R.T./New York Theatres)
THE TROUBLE WITH AFTERMATH David Zax’s drama about a journalist’s return from Taliban captivity raises more questions than it answers There are many plays about war and what happens afterward. They are generally distinguished by the events and people they portray. Unfortunately, the most outstanding feature of David Zax’s Aftermath is that it makes no…
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Theater Review: HEARTBREAK HOUSE (Antaeus Theatre Company / Glendale)
A HOUSE NOT QUITE WORTH LOSING Antaeus assembles a superb cast for Shaw’s comedy of a doomed society, but the production lacks the grandeur and dread to make its downfall devastating In 1920 the Theatre Guild asked George Bernard Shaw for the rights to revive The Devil’s Disciple. He offered them the premiere of Heartbreak…
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Broadway Review: OTHER DESERT CITIES (Hudson Theatre)
DAZZLED IN THE DESERT A star-studded revival of Jon Robin Baitz’s family drama impresses even as its political conflicts feel increasingly distant Have you ever felt dazzled and detached—at the same time—while watching the performance of a play? I found myself in that conundrum while sitting through the powerful revival of Other Desert Cities, which…
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Cabaret Review: 37TH NEW YORK CABARET CONVENTION (Mabel Mercer Foundation / Rose Theater, Jazz at Lincoln Center)
THREE NIGHTS, ONE GRAND SONGBOOK A generous feast of cabaret favorites, delivered with warmth, wit, and occasional excess FIRST NIGHT ONCE IN A BLUE MOON: A TRIBUTE TO MABEL MERCER Years have gone by since the influential and revered cabaret singer Mabel Mercer held court with elegant, minimalist performances of standards and lesser-known treasures she…
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THE INS AND OUTS OF MAKING A MUSIC VIDEO WITH AI
A practical guide for musicians and filmmakers. (Updated October 2026.) When MTV switched on in August 1981 with the Buggles’ “Video Killed the Radio Star”, the music video became the way a generation first met its songs, and the most expensive thing an independent artist could wish for. Forty-five years later, a finished track and…
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Review: AI LYRIC VIDEO MAKERS (2026)
Which tools treat the words as part of the art. (Updated October 2026.) Putting the lyrics on screen is older than the format it now serves. Bob Dylan flipped hand-lettered cue cards through “Subterranean Homesick Blues” in the opening of D.A. Pennebaker’s Dont Look Back; Prince built the video for “Sign o’ the Times” in…
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