Broadway Show Reviews & Critics' Ratings

The Colour of Dinosaurs, devised and performed by Dom Coyote, Lloyd Coleman, Jakob Vinther, Victoria Oruwari, Harry Miller and Roxana Vilk, has arrived at the Polka Theatre. The show explores how a palaeontologist, Dr. Jakob Vinther, used melanin to discover what the colours of dinosaurs actually were.

Written by Michael McManus and directed by Joanna Read, Party Games! is a “comedy-drama” that gives audience members an inside look into the political world of the United Kingdom through the “One Nation” party, which has been created in opposition to the other existing parties.

Dave Hill: Caveman in a Spaceship begins with Hill bursting through the door of Soho Theatre Upstairs on a bicycle, circling around the stage as music blasts and the audience cheers. A smoke machine goes off, covering the stage in fog, as another machine blows out snow-like confetti, with Hill going straight into its line of fire.

Matt Doyle—the 2022 Tony Award winner for his gender-bent role of Jaime in the Broadway revival of COMPANY—made his Segerstrom Center for the Arts Cabaret Series debut over a three-night engagement that began on May 2, 2024 with an incredible set that showcased his amazing vocal talents and his charming, witty ability for personal storytelling.

Director Moya O’Connell’s take on Henrik Ibsen’s play, in a new version by Liisa Repo-Martel, emphasizes the power of triangles, relationship groupings that seem stable but which are easily unbalanced by such an act of bisection. With a dynamite cast, an accessible adaptation, and the claustrophobic feeling of being trapped in Hedda’s living room, this HEDDA GABLER is as fiery as its heroine’s desire to burn down everything around her.

What did our critic think of ROMEO AND JULIET at Roberts Theatre, Calderwood Pavilion At Boston Center For The Arts?

The visionary eye of Choreographer Alonzo King creates such complex choreographic movement from his gifted ensemble of twelve contemporary ballet dancers, that you will miss a tantalizing moment if you avert your eyes for even a nano-second. Billed as the Alonzo King LINES Ballet: Deep River ---the audience at the Kennedy Center was treated not only to the choreographic ebb and flow of the Deep River contemporary ballet work but was also treated to no less than twelve other contemporary ballet dance works that preceded this primary work (except for one achingly languorous, reflective, and sensual work entitled Epilogue Pas which was a stunning pas de deux that was the final work of the evening –danced beautifully by Adji Cissoko and Shuaib Elhassan.

First off, Dear Readers, “Sherlock Holmes and the Precarious Position” currently playing at Taproot Theatre, is not a Holmes story from Sir Arthur Conan Doyle. It’s a silly little lark with Holmesian characters by Margaret Raether. The program even says, “Based on the stories of Sir Arthur Conan Doyle”. Second, do not try and gleam anything from the title. I’m still not certain what the “Precarious Position” was. At least, not without really reaching for a connection. Having said that, this silly little lark was fairly fun, largely due to a cast that was having just as much fun. So, it’s not brilliant or life changing, but I will go so far as saying it’s gigglelicious.

The Full Monty is a lot of fun, and a great palate cleanser after the more solemn, Ragtime.  It is playing now through June 22.

What did our critic think of MEN ON BOATS at Theatre In The Round?

It's a rollicking, raucous, adrenaline-pumping, soulful and yet sometimes sad affair

RENT is a rightful touchstone of musical theatre. A rare example of a musical being set in the time it was shown, it shone light on people and lifestyles that people were often doing their best to avoid. Reimagined in 2024 for an Australian audience, RENT wants you to come and see why it is a major part of the musical theatre landscape.

What did our critic think of EXPECTING at C21 Theatre Company/The Keegan Theatre?

Half a century on, SUPERSTAR shines brighter and louder than ever.

Shane Anthony’s (Director) presentation of David Ireland’s (Playwright) ULSTER AMERICAN returns to the Sydney stage at Ensemble Theatre.

Considering all the productions in the Met’s repertoire that have been conceived (or, perhaps more justly, concocted) by directors from other media who don’t seem to understand or like opera, Mark Morris is a gem. So is his concept for Gluck’s ORFEO ED EURIDICE, the myth of a man who is permitted to go to the land of the dead to retrieve his beloved wife, which was seen in a revival that opened the other night with countertenor Anthony Roth Costanzo and soprano Ying Fang in the title roles.

A whimsical procession on its way to the beyond.

Dear Readers, we’re about to enter the realm of one of my favorite shows, “Once on This Island”, currently playing at Village Theatre. This gem of a show is, sadly, not often produced. In fact, I’ve only seen it twice, once on Broadway in 2017, and once in 2005, again from Village Theatre. Both of those productions hold very special places in my memory as being stellar shows. I tell you this for one reason and one reason only, I am very picky when it comes to this show. I know the story and the music backwards and forwards. And I am loathed to say that this current production suffered from bad choice after bad choice, misstep after misstep, resulting in something that resembled the gem, but ultimately did not shine.

There’s unfortunately little about the current tour of 'Little Women' that will bring this show new audiences. It often feels like the purpose of the musical may be more to tell the sisters’ love stories than to tell the story of their love for each other, and the production choices for this tour do little to save it from its lackluster material.

When social worker Hana has to deliberate upon Bingo’s case for the custody of his daughter, his unusual hobby as a ‘doo-man’ catches her off guard. Through him, she is flung back into the world of pigeon keeping.