When done correctly, horror stories can often be an intense and thrilling ride for the audience, which you won’t forget anytime soon. Yet for many of us, myself included, it often feels like an overlooked genre in theatre, as opposed to the endless amount of horror you’ll find in film.

Valentine’s Day is soon, and I suspect many theatergoers – including some readers of this blog – are looking for something to do (and by that, I mean an event to attend) with their significant other, for this occasion. If they’re also a lover of theatre, obviously it should go without saying that any Valentine’s Day date ought to include a night at the theater. More specifically, perhaps one that involves watching a bright adaptation of a romantic classic.

The feeling of running into a long lost relative – one whom you’ve searching for, or perhaps even presumed to be dead – is a rare and emotional experience that few of us can truly understand. What could easily make the feeling of that experience even more unique is if you realize that that relative has been in front of you, the whole time. That’s exactly the feeling which Rosemary and Time, a new drama set in 1970s Yorkshire, attempts to capture during its run at the Paradise Factory Theatre.

With Valentine’s Day approaching, many people are looking to get themselves ready by going out to enjoy some live music and performances rooted in the themes of love and romance. For us theatergoers in the Big Apple, what better place to get exactly that than at a Broadway-style musical cabaret show?

It can often be risky to pull off an adaptation of a previously done work, when it deviates from the original in any way, shape or form. Needless to say, it’s even more risky to attempt to conceive a show that blends the work of one artist with that of another. Yet that’s exactly what we are treated to at the Medicine Show Theatre, in the form of the show Mr. Chekhov and Mr. Porter, and the result is a show that, for the most part, plays out relatively well.

For some of us, it often feels easy to forget just how recent of a cultural shift the embrace of LGBTQ equality has been in the United States has been. Prior to the beginning of this decade, a vast majority of the public – including in supposedly progressives states such as California in 2008 – viewed non-heterosexuals with disapproval, if not outright disgust. While there’s still more that can be done, things were far worse in the past.

I found this to be a very admirable children’s show, which does as fine a job as anyone could at explaining issues concerning refugees to young audiences. I myself have written many times before here at OnStage Blog about how children’s theatre needs to do more to tackle important issues, and judging by the description I read in the program, it seems that Rebel Playhouse is no stranger to doing exactly that.