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The Soundtrack of Sacrifice: A Two-Hander That Hits Home for Performers
When a Flamingo Meets a Seagull: “Eb & Flo” and the Future of Great Salt Lake
Bachauer 2025–26 Concert Series: Celebrating 50 Years of Piano Excellence
A Technicolor Language: Joseph in ASL at the Ziegfeld
Beyond Labels: An Interview with Arturo Sandoval on Jazz, Genres, and Authenticity
The Urban Arts Festival: Fifteen Years of Streets as Canvas
Grid City Music Festival Returns with 80+ Bands, 75 Murals, and Three Days of Free Performances
Faith, Fire, and the Virgin’s Gaze: WVPAC’s “The Hunchback of Notre Dame”
Big Hair, Bigger Hearts: How “Steel Magnolias” Makes Room for Grief, Laughter, and Love
There’s Still Magic in Oz: Tuacahn’s Timely Tribute to a Classic
“Welcome to Fat School”: Class Is in Session, and the Curriculum Is Radical Self-Love
“The Rest is Silence”: Therapy, Tragedy, and Shakespearean Shenanigans
Extra! Extra! Tuacahn’s “Newsies” Delivers a Pressing Revival
“Park Bench Royalty”: A Junkyard Fable with a Beating Heart
“Juan Jose and the Deathly Vatos”: Chicano Magic, Spanglish Mayhem, and a Wand Made of Resistance
When Words Were Enough: “Dear Jack, Dear Louise” at USF
From the Ocean Floor to Red Rock Heights: Tuacahn’s “Little Mermaid” Makes a Lasting Impression
“My Brother Was a Vampire”: Flying Backward Through Queer Grief and Gothic Memory
Meanwhile Park 2025: Backyard Theatre and the Queer Art of Survival
When Power Protects Itself, Justice Disappears
Mid-Life Crisis Rocks for a Cause with Summer Christmas Concert in Layton
SPRM, Spiked Soda, and Satire: SLAC’s Real Wives Roasts the Beehive
“The Fork”: A Music-Filled Farcical Feast with Heart
Glitterbomb Futures: Queer And Feminist Re-Vision in “& Juliet”
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