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Great visual beauty trumps mysterious wispy narrative.
The action-driven troupe adapts Robert Louis Stevenson’s classic.
New show implies that the stigmatization of menstruation is part of a broader tradition of oppressing women.
The one-man rant is admittedly funny, but too often feels like a single overstretched idea.
This year’s edition of the nationally renowned Contemporary American Theater Festival in West Virginia features six works, including four world premieres.
Happenstance Theater stages a rewarding, if not entirely flawless, riff on Greek mythology at Joe’s Movement Emporium.
A director and a choreographer stage a landmark modernist poem.
The play “#solestories” is flawed but displays ingenuity and vigor that are lacking in “Gwen & Ida.”
‘Klytmnestra’ and ‘Fragments of Sappho’ riff anew on ancient tales.
Local writer Allyson Currin’s play is often funny, ultimately moving and occasionally slack.
“We make decisions together,” choreographer says of artists with and without disabilities.
The new musical is based on the real-life couple who launched America’s first radio station.
1st Stage revives Carson McCullers’s tale of an awkward adolescence.
Dreamers will be central to Luis Salgado’s new production at GALA Hispanic Theatre.
But at Faction of Fools, a slapstick murder mystery falls flat.
The 1940 novel boils down into a fever dream.
Incisive performances define the play, which was drawn from interviews.
Two black actors play brothers named Lincoln (for the president) and Booth (the assassin).
A once-popular adaptation finds its way back to the stage.
Playwright Heather McDonald returns: ‘It’s a lot easier to emerge than reemerge.’
‘Blood at the Root’ examines strife at a high school; ‘Twilight’ takes place amid the 1992 L.A. riots.
Good acting fleshes out a premiere from the author of “Shakespeare’s R&J.”
The audacious phantasmagoria appears at Spooky Action Theater.
Romantic images and deep themes link new works at Rorschach and GALA.
Vato Tsikurishvili makes his directing debut, and at the last minute steps into the lead.
Production at the Source is a vivid, often bracingly stylized epic.
The funny yet garden-variety work is at the Kennedy Center through Feb. 3.
Another play about beleaguered lovers is Pointless Theatre’s new offering, “Visions of Love.”
“She the People,” at Woolly Mammoth, is fiercely funny; “Love, Factually,” at Kennedy Center, spoofs rom-coms.
Lincoln’s holiday gift predicament is just one of many plotlines in this sentimental offering.
There’s amusing repartee in the Washington Stage Guild comedy-drama, but the production smacks of artifice.