This pro-shot of Waitress is most successful in its close-ups of Bareilles.
There are few dramatic moments that justify the music that stems from the songs.
It’s surprising how much of Spamalot’s humor now feels rooted in an earlier time.
I Need That is a vehicle built for two that mostly just spins its wheels.
Here We Are is one last invitation to let Sondheim’s music guide us through the woods.
O’Casey’s depiction of the incursion of war on the lives of the innocent shudders with timeliness.
Across this revival of Purlie Victorious, it’s rare that the silliness and sobriety intermix.
There are pauses, yes, in Infinite Life, but they’re far from mere stylistic flourishes.
For devotees of the franchise, Nia Vardalos’s film will be a surprisingly emotional trip home.
Few shows have mastered the varied arts of cinematic recreation quite like this one.
Once Upon a One More Time is a frivolously delightful entry into the jukebox genre.
The film feels no more grounded than a gentle wisp of air.
There’s a shadow hanging over the 2023 Tony Awards, and we don’t just mean the WGA strike.
Never before has a boy triumphed more.
Comer’s Tessa wins the case for Suzie Miller’s play as urgent, necessary theater.
Ijames celebrates his characters in all their hammy, juicy humanity.
Shucked should probably invest in some “Keep the punchlines” pins.
Sweeney Todd can still shock, even if this production seldom goes for the jugular.
The Harder They Come deserves a weirder, more surprising stage adaptation.
The series returns to its original formula of silly plus tender, multiplied by wickedly smart.