Evan Henerson

Amidst the caskfuls of (figurative) ink written about Broadway stalwart Idina Menzel over her prolific stage career (and I'm about to spill

Envision stepping into your average Costco, Target, Kmart or – shudder! – Walmart. Now shake up the kaleidoscope and picture yourself employed

There were no sweets awaiting the guests as we departed the official state theater of California and headed to our cars, our Lyfts, our domiciles or wherever the heck we were all going.

Huzzah James Ijames’ FAT HAM. Bless its softness, its savory juiciness, its wit and its ostentation. And its Juicy! Hooray for the clothes, the music, the unabashed delight that this whacked-out literary homage enjoys in wrestling with Shakespeare’s existential conundrums and deciding, screw it! let’s get down to the food!

Sounding a drum, and promising fish heads to a hungry cat, Stool Pigeon, the grizzled neighborhood truthteller of Pittsburgh's Nill District, greets

The black and white creatures and weirdies that we see marching up buildings or emerging out of nowhere to terrify men and women (mostly women) are

The forgotten musician Juventino Rosas plays a magnificent violin. The opera singer Angela Peralta, known as the Mexican Nightengale, makes sounds of which not many mere mortals are capable.

Gods and carneys, talking monkeys, quacks and poets, sharp-tongued vaudevillians and a fractured and very adrift chorus whose experience mirrors our own.

The Bard is back and DURAN DURANTHONY & CLEOPATRA is up to snuff, zanily on point both in its concept and execution. When it comes to pop-Bard hybridization, Walker and his company know exactly what they’re doing.

The Roll is back! Back among the living, back at the keys, back on the road across America and toward some kind of spiritual redemption.