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The violent concept has power, but some human drama gets cut away.
The sleeper indie film enjoys a different life onstage.
Mosaic’s “Shame 2.0” chronicles battles with the government, and the public.
The action-packed comedy at Woolly Mammoth follows young women through one wild and crazy night.
Woolly Mammoth dominates the play category, with three shows in a top slot.
1st Stage revisits one of the MacArthur “genius” grant winner’s early triumphs.
Facing the loss of its Crystal City venue to the retail giant, Synetic Theater searches for an affordable space.
This revival of the Fats Waller show is disjointed.
This semi-staged version features cast members that might be holding scripts but loses none of the Broadway talent.
Two shows in black and white.
The memorializing play is still personal and political in Keegan Theatre revival.
More dyspeptic social laughs from the writer of “Bad Jews.”
Genuinely catchy numbers keep Andrew Lloyd Webber musical rocking.
The Russian president as a trending topic in the American imagination.
“I wanted that six-to-six moment,” says director Sheldon Epps.
Heidi Schreck’s hit may come to Woolly at a later date.
The play by Keith Hamilton Cobb, who plays the lead part, is a diagnosis on race and theater.
Coming from Broadway to D.C.’s National Theatre, the production recruited from actual School of Rock branches, other music schools and music camps.
“She has a vast knowledge of the business models of theater,” says artistic director.
Written by Alexandria native Sarah Burgess, the show and its inside-the-Beltway jargon may hit Washingtonians close to home.
The comedy is athletic as a murder mystery practically kills its actors.
D.C. lobbyists get skewered in “Kings,” and God gets therapy in “Oh, God.”
The new national tour is as big, beautiful and difficult as ever.
Lanford Wilson’s Pulitzer-winning romance is produced at GALA Hispanic Theatre’s Tivoli stage.
Sonya Kelly’s autobiographical show gets its D.C. premiere at Solas Nua.
The operatically scaled drama examines post-slavery America as the 20th century begins.
Touring productions and local standouts that illuminated Washington stages.
The insightful U.K. import at the Kennedy Center cuts across borders — from Britain to Africa.
Energetic and exciting are not the same things.
The play at Studio Theatre gets serious about the challenges, especially for women.
Colin Hovde, who has run the company since 2011, steps away.