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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.
A misfire of Shakespeare’s tragedy has its official Broadway opening.
The House speaker invites the “To Kill a Mockingbird” cast to Washington, and even Broadway pros choke up.
“Our blackness in white spaces is so much more present than it ever was,” says “Slave Play” author Jeremy O. Harris.
It’s the perfect moment for a play about the legal document, and Heidi Schreck is the perfect interpreter.
Sam Mendes’s production at Park Avenue Armory illuminates the riveting saga of a famous banking family.
Aaron Sorkin’s adaptation will run in Washington for six weeks, starting in August 2020.
“Ain’t Too Proud” at the Imperial Theatre is entertaining to the max.
Director Peter Flynn knows how to add playful luster to the witty fairy-tale show.
Arena Stage produces the world premiere of Aaron Posner’s play, with four actors playing the same man.
Kelli O’Hara is luminous in this Roundabout Theatre Company revival of Cole Porter’s musical.
Neither “Queen of Basel” at Studio nor “Masterpieces . . .” at Signature achieves liftoff.
Another teenage-angst musical opens, and it’s a noisy slog.