Recent Reviews

Lady Day at Emerson’s Bar and Grill: Witnessing “Strange Fruit”

The Demon Is Better Behaved: Spencer Ford on Writing Possessive! The Musical! and Taking It to Edinburgh Fringe

The Death of Nero by Mikhail Kuzmin: A Century-Old “Lost” Russian Play Finally Gets Its World Premiere in SLC Thanks to ThreePenny Theatre Company

Water for Elephants Review: A Circus of Wonder on Tour

A Curse That Never Strikes: MacB*tches at MadKing’s Fellowship Theater

Second Week Roundup at Great Salt Lake Fringe: King John & Dramapocalypse!

Great Salt Lake Fringe Festival Review: Salt Monster Theatre Co.’s Replacements

Great Salt Lake Fringe Festival Review: In My Room by Laura Elise Chapman

Great Salt Lake Fringe Festival Review: Sugar Mud by Meat Bar

Great Salt Lake Fringe Festival Review: There’s Only Two Left

Great Salt Lake Fringe Festival Review: Happy Birthday, Mr. President

Not Today, But Surely Tomorrow: Good Company Theatre’s “Waiting for Godot”

First Weekend Roundup at the Great Salt Lake Fringe Festival: The Variants, Polaroids from the Apocalypse, and Cache Dexter’s 2,045,148,705th Most Interesting Person in the World

Great Salt Lake Fringe Festival Review: Diaries of a Post-Mormon Girl

“Welcome to the New Century”: A Review of “The Hiss” at Great Salt Lake Fringe Festival

Great Salt Lake Fringe Festival Review: “This is Jane” Opera Tells the Real Story of Chicago’s Jane Collective

Twelve Shows to Catch at This Year’s Great Salt Lake Fringe

Who’s Directing Whom: Power and Consent in Voodoo’s Venus in Fur

Spotlight: Power, Consent, and Seduction Take the Stage in Voodoo Theatre Company’s “Venus in Fur”

A French Toast, Both Kinds: A Review of Meanwhile Park’s New Rom-Com

Alicia Keys’ Hell’s Kitchen: Music as Inheritance

Review: SLAC’s Gaslight Zone — You Won’t Want to Leave!

More Than Technique: Inside the Gina Bachauer 50th Anniversary Young Artists Semifinals

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