Robert Cushman: I will lay you odds that the superimposition of one time-frame upon another is one reason that this musical becomes what is known as timeless
Robert Cushman: At times, I thought the constant motion of all the characters actually helped the story; at others, I thought it got in the way
'Such discussion is exactly the goal of our civically-engaged theatre; this discourse is the basis of a healthy democracy'
Delta Airlines and Bank of America both pulled their sponsorship from New York's Public Theater on Sunday
The people of Newfoundland were celebrated at the Tony Awards but Come From Away fell short in its historic bid to capture Broadway's biggest musical prize
'For over 400 years, Shakespeare's play has told this story and we are proud to be telling it again in Central Park'
Robert Cushman: It's no secret that Romeo and Juliet ends in a tomb. In Stratford's new production, it begins there as well
Robert Cushman: The performance's execution lacks something in finesse, but the conception is an eye-opener
Mike Doherty: Finding one's own voice as a tap artist entails figuring out what, and who, have come before. Young dancers have much of the form's history at their fingertips
Robert Cushman: The music, mostly melodic rock, can be very expressive. The lyrics, though, can't. They're often difficult to hear
The Toronto financier, philanthropist and impresario is reviving his efforts to bring a bit of Broadway to Canada's biggest city
Robert Cushman: It was, I imagine, like being in church, but more so. They had come to the theatre, and it was speaking their language
Robert Cushman: It is the best thing to happen so far in Streetcar Crowsnest's new East End home. Imaginatively presented on a bare open stage, it draws us into a world
Robert Cushman: Those who know the film have testified that the reborn stage musical isn't strictly Strictly Ballroom at all
The ceremony will take place at on June 11 in New York City, and will be hosted by former Tony winner and generally hilarious guy Kevin Spacey
Robert Cushman: The truth is there's been a healthy component of irony in the best romantic comedies, at least since Shakespeare and probably before
Robert Cushman: Some things in this adaptation/production may be questionable, but everything feels thought and imagined
Robert Cushman: There's good and bad suspense; this play has both
Robert Cushman: He can be hilarious, in modes silky or self-deprecating. He can be frighteningly angry. He can be just as frighteningly lost
Robert Cushman: Whenever you think that her 90-minute hard-luck story has outstayed its welcome, Karen Hines draws you back in
Sabrina Maddeaux: They may often appear small, adorably fuzzy and googly-eyed, but these unassuming creatures are powerful political players
Robert Cushman: It's also the return to producing of Garth Drabinsky, who gave us such masterful shows as Ragtime and Kiss of the Spider Woman
Robert Cushman: It's a show that has its share of wry self-deprecation, but is more about living with and even overcoming obstacles
Robert Cushman: Tension keeps us interested through dialogue that is generally easy-flowing and sometimes amusing
Come From Away, which had its official Broadway opening on Sunday, is set in remote Gander, N.L., in the aftermath of the Sept. 11, 2001 attacks