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SLC White Party 2026: A Voyage Through Time
Sundance 2026: Guide for Utah Locals
The Rhetorical Review — 2025: A Year Witnessing Performance, Community, and Care
“A Machine Built to Break Down”: Pioneer Theatre Company’s Noises Off Delivers a Carefully Orchestrated Collapse
Naked Mole Rat Gets Dressed: The Rock Experience at SLAC
’Twas the Night Before: Cirque du Soleil’s First Christmas Show Makes Its Salt Lake City Debut
A Funny, Bloody, Queer Gothic: Voodoo Theatre Company’s “The Moors” Bites Back
Inhabiting the Inner Space: Arthur Greene and the Passage from Pain to Triumph at the Gina Bachauer International Piano Foundation
“Book of Ego” by Irene Loy: Drama Therapy and the Excavation of Self
“Keep Marching”: Suffs Brings the Suffrage Fight into 2025
Writing as an Act of Empathy, Listening to Bear Witness: PYGmalion’s “Tiny Beautiful Things”
AI Isn’t Invisible, It’s Draining the Planet: Why We Need to Know the Cost Before We Click
Kurbasy’s Songs of the Ukrainian Forest at Kingsbury Hall
The Dos and Don’ts of Theatre Criticism
“You Still Matter”: Pioneer Theatre Company’s “Dear Evan Hansen” Hits a Nerve in Utah
Lakecia Benjamin Has Risen: An Alto Sax Goddess in Her Noble Rise Era
“Deep Love: A Rock Opera”— The Living, the Dead, and the Space Between
Ballet Hispánico at Kingsbury Hall: Motion, Memory, and the Pulse of Latin Identity
“Don’t Dream It — Be It”: “The Rocky Horror Show” at the Ziegfeld Theater
Listening Walls and Lost Names: Westminster University’s “The Hatmaker’s Wife”
The Kitchen as Crucible: Reinvention in “The Roommate”
The World Premiere of “Just Add Water”: Great Salt Lake Speaks
A Classic Reborn: “Some Like It Hot” Finds Liberation in Jazz and Gender
Golden Resonance: Wynona Yinuo Wang Opens Bachauers 50th Anniversary Season
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