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A scrappy Northern Virginia company showed me how this musical should be produced, drinking game and all.
Holland Taylor’s solo bio-comedy is an affectionate account of a memorably wry politician.
Work-in-progress ‘Tender Age’ looks heartbreakingly at the crisis on our southern frontier.
Two actors talk about portraying the Ewells, who seal the fate of a falsely accused black man
Too many characters on the debate stage resulted in a drama that felt all over the place.
The great composer is the guest star of a New York concert hosted by Jason Robert Brown.
The Philadelphia Orchestra presents a curious version of the musical, set in high school.
Round House stages the Washington-area premiere of Lucas Hnath’s Broadway play.
“Byhalia, Mississippi” does not begin to meet the arts center’s responsibilities for plays.
Anaïs Mitchell’s bluesy show based on a Greek myth collects an evening-high eight awards.
The tour of the Tony-winning revival comes to the Kennedy Center.
Some choice comic work is nominated, but the voters tend to go for more dramatic turns.
Their ‘On Air’ for Falls Church’s Creative Cauldron fulfills an ambitious five-year plan.
Laurie Metcalf, John Lithgow and the other cast members talk about portraying the political power couple on Broadway.
“The Oresteia” concludes Kahn’s 33-year artistic directorship of the Shakespeare Theatre.
Round House Theatre offers up the D.C.-area premiere of J.T. Rogers’s Tony winner.
After 33 years at the helm of a fine classical company, he’s taking his curtain call with “The Oresteia.”
Aaron Sorkin’s acclaimed “To Kill a Mockingbird” left off the list of best-play nominees.
The musical is the best offering so far in the arts center’s Broadway Center Stage Series.
Once a year, the American Shakespeare Center goes back to the future, with the cast having the run of the place.
Tim Burton’s signature film comedy adds music, and much antic frantic-ness.
James Graham’s play establishes a template for the publisher’s raw, red-meat style.
Santino Fontana inherits the mantle from Dustin Hoffman in this truly funny, old-style musical.
“Gary: A Sequel to Titus Andronicus” never lights up; “Burn This” flames on with Driver.
“Hillary and Clinton” has its official opening at Broadway’s Golden Theatre.
Anaïs Mitchell’s score turns out to be no match for the devil.
A career as a professional member of the audience is rewarding, except for the time someone threw up on me.
Arena Stage gives a smooth treatment to the playwright’s “Junk,” tightened up since its New York debut in 2017.
Signature Theatre applies opulence to an ’80s Broadway hit that otherwise lacks pizazz.
Heidi Schreck was thrilled when Laurence Tribe of Harvard contacted her after he saw her play “What the Constitution Means to Me.”
Daniel Fish’s off-Broadway hit moves to musical-theater’s big tent.