Mike Schulz

I remember a time, not so long ago, when I actually looked forward to movie trailers. Getting the chance to see what certain performers and directors had coming up next; witnessing the artfulness of the preview itself, which has to build anticipation with three minutes of footage; experiencing that happy rush when an entire audience simultaneously reacts to a trailer with a feeling of "I can't wait to see that"? I ate it all up.

Both the funniest and saddest Cinderella tale you've ever seen, writer/director Sean Baker's Anora is a great movie with some great big problems.

Singin' in the Brain: “Joker: Folie à Deux,” “White Bird,” and “'Salem's Lot”

Anyone who stumbled upon the Reagan poster and felt immediately inclined, maybe even compelled, to see the picture likely got exactly the experience they wanted; that visual image is pure hero worship, and so is the movie

Anyone who stumbled upon the Reagan poster and felt immediately inclined, maybe even compelled, to see the picture likely got exactly the experience they wanted; that visual image is pure hero worship, and so is the movie

Director/co-writer Greg Kwedar's Sing Sing allows Colman Domingo's soul to spill for roughly 100 solid minutes. Thrillingly, however, his isn't the only soul on display. Not by a long shot.

Artistic director and choreographer Courtney Lyon says this year's programs offer “a little smattering of everything. And she isn't kidding, given that the vignettes this year range from a Strauss waltz to an ensemble Stravinsky to a contemporary Indian piece to a twisted Edgar Allan Poe … all preceded by a costumed puppy saving a kitten from a tree.

It’s hard to imagine a more ideal venue for a performance of Charlotte’s Web than the Playcrafters Barn Theatre. Because the show’s action takes place almost entirely in a barn, the space itself blends seamlessly with the set, inviting the audience to immerse themselves in the world of the play.

I was overdue for captivating theatre, and on Friday, the Black Box Theatre delivered.

Dear Quad Cities Theatergoer,It may seem strange that I should be writing this letter, the explanation being that 84 Charing Cross Road, now playing at the Richmond Hill Barn Theatre, is a play that is almost exclusively epistolatory in nature: The story is told through the recitation of letters. The opening-night performance was a charming evening, and in telling you about it, I could think of no better method than through that of a letter.