Broadway’s coming of age hit A Bronx Tale is filled with exciting choreography by Tony Award nominees Sergio Trujillo (On Your Feet and Jersey Boys). The toe-tapping numbers and catchy musical tunes by Oscar, Grammy, and Tony Award winner Alan Menken (Beauty and the Beast, Little Shop of Horrors and The Little Mermaid), and lyrics by Grammy Award winner and Oscar and Tony Award nominee Glenn Slater (School of Rock, The Little Mermaid and Sister Act) lend to its success. Directed by two-time Oscar winner Robert De Niro and four-time Tony Award winner Jerry Zaks, A BRONX TALE has the audience walking out of the Pantages smiling.

When looking for events to do with your kids during the holiday season, a show you’ve just discovered based on a fairy tale that everyone knows is hardly something you could go wrong with. Just the title of the show itself – “A Hansel and Gretel Christmas” – conveys joy for the whole family. Furthermore, the fact that it’s produced by one of the more prolific and successful indie theatre companies of the past decade – “Friends Always Creating Theatre” aka FACT – would seemingly add to its promise. However, once you’re seated in the theater, you quickly realize how one creative decision involving one main character can easily ruin the whole show.

In the past two years, I have been sent by On Stage to write about well over 25 shows – that’s not mentioning the countless plays I’ve seen, read or participated in – and yet “The Prisoner” is probably the hardest one to review. That’s because, unlike those other 25+ shows, “The Prisoner” doesn’t follow the guidelines of modern, Western theater. I understand how that kind of theater-making works from Shakespeare to Shaw to Sondheim. I know the rules and the conventions behind them. I can evaluate how they complement or break those traditions. But “The Prisoner,” making its US debut at the Yale Repertory Theatre, is a turn away from that style of performance.

One walks away reflecting on the injustice today’s immigrants are facing as they struggle to provide a future for their American-born children. It’s eerily a repeat of history as our current administration pulls apart families and separates them into relocation camps.

The controversy of political correctness versus freedom of speech, in a university classroom setting which must encourage progressive thought, left me with so many unanswered questions at the conclusion of Norman Yeung’s ‘Theory’ now on stage at Toronto’s Tarragon Theatre. Along with the intersectionality of these two elements, the story is also graphic at times in language, themes and visual presentation of projected images. Did I feel cheated because I had unanswered questions? Slightly, as I really wish there was a talk back with the performers in order to gain further insight into the text.

The modern musical is finding itself at a crossroads, particularly those modern musicals that tell the stories of artists and expand on their legacy. I’ve noticed many have started to diversify from the traditional jukebox ‘tribute show’ style and adopt the stylistic stances of musicals that actually use songs as a vehicle to explore narrative and character. So when I finally got the chance to see ‘Motown: the Musical’, I looked forward to seeing how the show that celebrates the story of music giant and Motown founder Berry Gordy makes use of its new theatrical home to expand on the label’s rich history.

Casa Manana’s exceptional performance of the emotionally evocative 2010 Pulitzer Prize-winning musical,” Next to Normal,” plunges headlong into the turbulent waters of a modern suburban family battling the painful, life-altering effects of mental illness. Through an intimate, roller coaster exploration of the twists, turns, peaks and steep plunges of the mind, “Next to Normal” dives deep to unmask the face of those struggling with depression, isolation, anxiety, loneliness and more.

“Divination” is not a perfect play, but it expresses ideas that are often thought about with an ensemble of unique individuals dealing with the struggles that we deal with everyday. I hope as the play continues to evolve that it will not lose sight of these wonderfully fascinating ideas.

Widely considered to be one of the finest playwrights of the 20th century, titles such as “The Glass Menagerie” and “A Streetcar Named Desire” are often among the first to come to mind, when someone hears the name Tennessee Williams. However, while those plays came during the earlier part of his career, the final decade or so of his life is more associated with his personal troubles than with anything to do with his artistic output. This is a terrible shame, as there are still plenty of gems worth appreciating, when looking back on this period of his life. Among them is “Small Craft Warnings”, first produced in 1972 and now revived at the historic 13th Street Repertory Theatre by Regeneration Theatre.

Though, I feel “Gemini” doesn’t dig in to Francis’ struggles with his homosexuality as much as I would have liked to see, instead opting for the wacky antics of the people around him, and the ending feels sudden, the actors and director did a fine job with the text that they were given and put on a show that will be enjoyable for the audience.

Watching Matthew Greene’s triptych “Thousand Pines” is like sitting down to a sumptuous Thanksgiving feast – the kind made up of individual, familiar parts you already like, the kind that takes center stage in Walt Spangler’s homey set – only to find a few side dishes that, while tasty, don’t nearly fill you up. It’s a frustratingly fuzzy experience, especially since there’s such a compelling story so close to the surface. But more often than not, Greene’s work is well-meaning but rushed, overstuffed and undernourished.

A new musical, Freefall Frostbite, was presented as a 65-minute concert at Feinstein’s/54 Below on Tuesday, October 16.

“Freefall Frostbite” is a full, two-act musical. This is the show’s third New York engagement, following an October 2017 run at St. Mark’s Theater. The show originally premiered in 2013 at the NYC International Fringe Festival, but was completely reimagined with a new score and altered script.

“Jane Eyre” is well-acted by a cast of only three. The title role is played by Rebecca Tebbett, whose performance is suitably grounded and down-to-earth, whilst still being immensely likable. Wreh-Asha Walton and Alex Wilson play all of the remaining characters, which is quite a feat. They switch between the roles deftly, and perform all of them with great conviction.

It is in those rare moments where one gets to see something uncommon in theatre that stirs the heart and makes one’s love of theatre grow. Case in point — Caryl Churchill’s “Escaped Alone”, being presented by Soulpepper in conjunction with Necessary Angel Theatre.

The play explores the relationship of three friends in their sixties or older, Vi (Brenda Robins), Lena (Kyra Harper), and Sally (Maria Vacratsis) — and a lesser-known neighbour they don’t know as well, Mrs. Jarrett (Clare Coulter), who arrives and joins them for tea in Sally’s backyard. Mrs. Jarrett listens intently as the three women chat about their lives and neighbourhood, finishing and cutting off each other’s sentences as only long-time friends can do. The action occasionally freezes, and Mrs. Jarrett delivers chilling and surreal accounts of apocalyptic visions, often with details that satirize our current social media climate (for example, people taking selfies amid a disaster event in case they get a chance to post them at some point).

I’ve noticed a recent trend in the rise of pieces of theatre inspired by stories from across the States, as well as productions actually brought over from there too. It almost seems as if British directors are seeing the merit in finding and understanding the universal power of narratives from other cultures, and seeing how they interweave with our own narratives and culture. On that note, I popped into the Leeds Grand Theatre to check out The Classic Screen to Stage Theatre Company’s latest adaptation of the classic MGM film ‘Rain Man’.

Spoken in Riggins’ hoarse yet commanding drawl, modulating his speed and timbre with the dexterity of a blues guitarist, it’s the kind of moment when a play hits a perfect bulls-eye. Backed up by wonderful performances all around – especially McCarthy who does heart-breaking and detailed work as Mary Jane – “Jesus” is the kind of tough, uncompromising theater that is as philosophically engaging as it is emotionally and theatrically. That’s a rare thing to find anywhere, let alone in smaller professional or community groups. It’s the reason I keep coming back to Collective Consciousness.

Jaclyn Backhaus’s “India Pale Ale” currently running at Manhattan Theatre Club’s New York City Center Stage I has acollection of “teachable moments.” Some of the lessons are rather unimportant though interesting. The audience learns the history of IPA (India Pale Ale), the hops and alcohol content of the iconic enhanced pale ale, and how at least one white hipster Tim (a lumbering and naïve Nate Miller) does not know what the “I” in “IPA” stands for. Other lessons are significantly more important. The audience learns the migratory history of Basminder “Boz” Batra (an energetic and spirited Shazi Raja) and her Punjabi family to the United States and theirnew home in Raymond, Wisconsin. Boz and her brother Iggy (a deeply sensitive and ebullient Sathya Sridharan) are second-generation American citizens.And the audience learns that Boz wants to leave Raymond and open a bar in nearby Madison, Wisconsin.

The journey to achieving Arnold’s commendable goals is a universal one as are the hopes and dreams of the characters in “Torch Song.” One wishes for even more relevant themes for the LGBTQ+ community in the first half of the twenty-first century.

After a long and busy night involving sex and intoxication, it might be easy to forget what happened, with memories getting blurred and distorted, leaving them to question how good or bad last night really was. In Caitlin Saylor Stephens’s new play at The Tank, we see this type of scenario play out in a highly absurdist fashion, as two American Apparel models question the reality of the events of what happened the previous night.

Perhaps one of the most well-known detective mysteries ever published, Agatha Christie’s “Murder on the Orient Express” essentially became the subconscious blueprint for similar whodunnit stories that came after, particularly those that involve a confined room full of plausible suspects that are all under investigation by a brilliant sleuth.