Robert Cushman: All these characters, plus the subsidiary ones that all the actors take on, add to a mosaic of people coming together and recoiling from differences
Robert Cushman: I have been visiting New York for 50 years, and have never fallen out of love with it. Right now, I love it more than ever
Robert Cushman: This isn't one of those American plays in which family members yell at one another while pulling skeletons out of cupboards
Like the Hamilton tunes, Miranda says his Moana songs blend a modern musical sensibility with an appropriate place in time
Ashley Csanady: But what if Lady Macbeth isn't one of Shakespeare's greatest villains, but a hero in her own right?
As told by the the married writing team of David and Irene Hein, the creators of Come From Away, a new musical at the Royal Alexandra Theatre until January 2017
Calum Marsh: I'm beginning to understand that David Blaine's resounding lack of cool is precisely his appeal
In Cape Breton's close-knit Gaelic communities, the traditions were passed from generation to generation
Robert Cushman: As the plot proceeds and conflicts get underway, the dancing takes on real dramatic power
'His musicality is so precise " he has really thought through what each music piece represents, and found ways to express that'
'We have to take a lot of time with technology, and rather than resist that we've decided to use it. So the audience just has to wait'
'It began as a thought of someone affected by their environment, but as I began to grow it, it became more biblical'
Robert Cushman: They execute their maneuvers with charmingly casual grace, and some of the feats are breathtaking. They put the audience in a pleasurable trance
Robert Cushman: The accomplished actor and playwright presents Acquiesce, the opening production in Factory Theatre's season of plays by authors of colour
Queen's students began taking to social media to denounce the Othello casting, and director Maggie Purdon said the criticism 'started to blow up' this week
Robert Cushman: It closely resembles Harold Pinter's Betrayal, which moved steadily back in time to explain, or at least illuminate, its initial situation
Robert Cushman: Tomson Highway returns with a more modest work, a show whose principal revelation is that he is a first-rate piano player
Robert Cushman: It offers equally glorious singing, plus inspired and meticulous staging by the British director Richard Jones
Robert Cushman: Beckett is very much about obedience, while a play by Athol Fugard rooted in autobiography may move you to tears
Catherine Kustanczy: With a focus on their own personal branding, opera singers have moved beyond the stage to become social media stars in their own right
Robert Cushman: We respond to the writing, though, less for its own sake than as one element in a tightly-wound theatrical experience
Robert Cushman: It withholds information so that it can have a second act while devoting most of its first to having the characters tell each other what they already know
Robert Cushman: The Shaw's strength, like Stratford's, has always been its comparative permanence
Robert Cushman: Nothing On is an old-school British caper revolving, at a furious rate, around doors and underwear and sardines
Grumpy Cat has become an online phenomenon with 8.7 million Facebook followers and a career selling merchandise of all kinds