Herbert Paine

Don Bluth Front Row Theatre's production of THE RAINMAKER is a heartfelt and intimate production that highlights the story’s enduring themes of self-worth and hope.

By now, the phrase Phantom of the Opera conjures one thing: Andrew Lloyd Webber’s juggernaut, a chandelier-crashing, organ-blasting spectacle that has been haunting Broadway since the Reagan administration. But Maury Yeston and Arthur Kopit’s PHANTOM, currently at Arizona Broadway Theatre in Peoria until April 10, is an entirely different beast—lusher, more romantic. It plays like a grand old movie, the kind that knew how to sweep you up in its spell.

Theatre Artists Studio's staging of Sarah Ruhl's THE CLEAN HOUSE, captures the playwright's intention of a meditation on how people grapple with grief, love, and their own imperfections.

Stray Cat Theatre’s production of FETAL is a necessary, gripping, and unforgettable theatrical experience—one that demands not only contemplation but also collective action and solidarity regarding reproductive rights.

ATC's BLUES IN THE NIGHT: It’s about feeling - pure, raw, and undeniable...if you’re looking to be wrapped up in a night of sensational voices and music that hums in your bones, this is a show to get lost in.

The Phoenix Theatre Company’s production of JERSEY BOYS is a toe-tapping, high-energy joyride through the unforgettable music of The Four Seasons.

Epic, bold, and elegant in design and execution, Ballet Arizona’s production of Annabelle Lopez Ochoa’s FRIDA is a sensory feast – impassioned, radiant, and breathtaking.

It’s always a risk to transplant a beloved classic film to the stage, particularly when that film is one so thoroughly embedded in its time as SOME LIKE IT HOT. Yet this latest Broadway adaptation, now performing at ASU Gammage until the 16th, with kinetic direction and crowd-pleasing choreography by Casey Nicholaw, not only succeeds in updating the story but breathes new, surprising life into its proceedings.

The Black Theatre Troupe's production of THE AFRICAN COMPANY PRESENTS RICHARD III is a triumph: a vital and illuminating piece of theater that reaffirms the stage as a battleground for justice and representation.

By allowing Churchill’s reflections – his triumphs and regrets alike - to take center stage, David Payne delivers a performance that is complex, compelling, and deeply human. CHURCHILL - at The Phoenix Theatre Company - is a theatrical experience that lingers long after the final applause.

Erin Brown Thomas succeeds brilliantly in blending genres, crafting a nuanced exploration of how boundaries become movable in the face of ambition.

Order Chaos Theater Company's production proves why THE LION IN WINTER endures. Beneath its medieval trappings lies a searing examination of power, love, and legacy that resonates across centuries. The strong ensemble and Webb's incisive direction illuminate the thorny complexities of family dynamics with both wit and wisdom.

Arizona Theatre Company's SCROOGE!, directed by Matt August, offers moments of holiday cheer and showcases talented performances, making it an enjoyable seasonal outing.

David Appleford, BroadwayWorld’s esteemed guest contributor, gives a glowing holiday tribute to Hale Centre Theatre’s inventive and inspiring production of the seasonal classic, A CHRISTMAS CAROL, directed by David Hale Dietlein.

Stray Cat Theatre's production of SWEAT, directed by Chanel Bragg, achieves a remarkable balance between the intimacy and intensity of working class folks caught in the whirlwind of economic displacement. To this end, Bragg's ensemble delivers powerhouse performances.

The Phoenix Theatre Company's production of MIRACLE ON 34th STREET: A LIVE MUSICAL RADIO SHOW is a perfectly pleasant and heartwarming live theatre experience.

Written from the point of view of a theatre fan, guest contributor David Appleford provides a piece full of details and insights regarding the new film, WICKED, and how it compares to the stage musical.

In Order Chaos Theatre Company's production of Geoffrey Nauffts's NEXT FALL, Mark Alan Clemente’s astute and empathetic direction ensures that shifts between past and present flow seamlessly, that the story’s emotional stakes build dramatically, and that the playwright's goal of highlighting “the conversations we weren’t having” in everyday life is fulfilled.

While casting practices have evolved to enhance diversity (albeit, too slowly and not enough), the selection of plays remains strikingly homogeneous. We need to focus on what is produced as much as who is cast.

The Black Theatre Troupe's production of THE COLOR PURPLE is a rousing and emotionally powerful show, thanks to a brilliant cast and the keen direction of Karen Davis Jones and the musical direction of Brenda Hankins.