Theater
Artist Profile: Olivia F. Data ’26 and Preston C. Bushnell ’26 on ‘Get a Clue’ and Penning Original Musicals
It doesn’t take a detective to figure out that this powerhouse roommate duo is not a one-hit wonder. "This isn't our first rodeo,” said Data.
‘Lizard Boy’ Review: A Hearty Attempt that Can’t Tip the Scales
For all the material’s faults, the cast does a terrific job performing it.
‘Get A Clue’ Preview: A Brand New Whodunnit
Audience members will feel as though they’re investigating the mystery themselves, questioning their own suspicions with each new revelation.
‘The Pirates of Penzance’ Preview: A Tale Filled With Love, Laughs, and Shenanigans
“It’s just an absolute, magical time. It’s irreverent, it’s hilarious, it’s often slapstick at moments,” said Jack R. Damon ’28, the show’s music director.
Is Broadway Back? The Question Haunting the 2025-26 Season
Broadway producers are struggling as much as ever with the balance between art and commerce as they fumble their way towards a formula for success.
‘Merrily We Roll Along’ Review: A Dazzling Reminder to Follow Your Dreams
After seeing “Merrily We Roll Along,” audiences never would have guessed that this show by Stephen Sondheim and George Furth infamously flopped in 1981.
‘The Addams Family’ Review: A Grave Success
“The Addams Family” proved that sometimes a little morbidity — and a whole lot of musical talent — can breathe new life into the most macabre family on stage.
The Power of the Music of the Night: The Spookiest, Eeriest, and Most Hair-Raising Songs from Broadway
From Audrey's screams as she is devoured, to the Phantom’s soft but seductive tones, these are sure to set your hair on edge.
‘Our Town’ Review: Radiance Found in Simplicity
Lyric Stage Boston stole hearts with its modern yet deferential revitalization of the timeless work, directed by Courtney O’Connor.
‘MACBETH’ Review: Sparse Staging Becomes a Burden in Mixed Triumph
While the restrained staging invited intimacy and allowed the supporting cast’s arias to shine, the production often faltered under its own minimalism.
‘300 Paintings’ Review: The Most Innovative Live Performance You’ll See This Year
Kissajukian’s humor does not trivialize the weight of his illness, but instead familiarizes, endears, and humanizes someone living with bipolar disorder.
‘Comedy is Not the End Goal’: Sam Kissajukian Embraces the Interdisciplinary in ‘300 Paintings’
"Comedy is a great way to create accessibility — if you can keep people laughing, it stops their defense mechanisms from going up," Kissajukian said.
‘Sardines (a comedy about death)’ Review: A Not So Grim Reaper at The Huntington
There is no extraordinary revelation about death at the end of "Sardines," but that may be its most realistic revelation altogether.
‘Primary Trust’ Review: A Looking Glass Etched with Trauma
When Kenneth (David Castillo), a seemingly mature, middle-aged man, walks onstage and starts stuttering about his life, one can’t help but feel a strange, tender attachment to him.
‘The Hills of California’ Review: Set Up for Success but Missing the Mark
As rich in content and concept as “The Hills of California” may be, the acting occasionally falls flat, missing some of the complexity and humanity that is so central to the play.
