Add last year’s The Autopsy of Jane Doe and Lights Out to the long list of excessively derivative, and thus increasingly tired horror movies that would be better suited for the stage.
One of the loudest drums I’ve beaten for the longest is my steadfast belief that live theatre and horror are a match made in Heaven.
Write All Nite has been screaming for Broadway to become a home to the horror genre.
Sometimes, a movie adaptation of a play makes you realize new dimensions to a seemingly straightforward moment of stagecraft in the original production.
About 30 minutes into Breaking, a realization dawned on your boy:
By definition, a production’s sound design is meant to be heard.
My favorite revivals — plays and musicals alike — of the 2019-2020 (non-Broadway) theatre season:
Using the Tony Awards’ official categories as a guide (with one exception), here’s my favorite musical work — new shows and revivals alike — of the 2019-2020 (non-Broadway) theatre season:
First up, miscellaneous honors from the 2019-2020 (non-Broadway) theatre season.
In case yesterday’s esotericism didn’t make this clear, let me state simply for the record: Steven Soderbergh’s Unsane is my favorite movie of 2018 thus far.
WRITE ALL NITE 