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Somehow Hollywood didn’t know what to do with Chita Rivera, but its loss was a win for decades of theater audiences.
Bernadette Peters and Lea Salonga are just two of the stars making things bright on London stages.
“King Lear,” “Stereophonic,” “Merrily We Roll Along” and “Sunset Boulevard” were heartening examples of theater’s enduring power.
Director Jamie Lloyd’s stunning revival of Andrew Lloyd Webber’s 1994 musical stars Pussycat Dolls lead singer Nicole Scherzinger.
Playwright-director Shayok Misha Chowdhury invites us to India for a look at the clashes of values in “Public Obscenities.”
The brothers’ folk-rock songbook is featured in “Swept Away,” an Arena Stage production telling the story of a 19th-century shipwreck
Shakespeare’s great tragicomedy is the first to be staged at the theater in Folger Shakespeare Library since a 2020 renovation.
Twenty-three Alicia Keys songs tell the coming-of-age story of a New York teenager with a musical gift.
Hana S. Sharif, Arena Stage’s new artistic director, has no shortage of confidence or enthusiasm. “I love it,” she says, “when the small group gets loud.”
Direct to Broadway from the Kennedy Center comes an inspired revival of ‘Monty Python’s Spamalot,’ staged and choreographed by Josh Rhodes.
The ‘White Lotus’ star makes her stage debut in an off-Broadway production with lots of fireworks but not enough fiery truth.
Barry Manilow always wanted to create a Broadway musical. “Harmony,” about a singing group disbanded by the Nazis, is no jukebox rehash of his hits.
The Jar, founded in 2019, has a goal of inviting people who don’t look or think like each other to share an art-filled evening.
Off-Broadway’s Playwright Horizons stages David Adjmi’s “Stereophonic,”the tumultuous story of a 1970s rock band.
Signature Theatre Artistic Director Matthew Gardiner leads a splendid cast through “Ragtime,” the musical adaptation of E.L. Doctorow’s teeming novel.
“I Need That” is among a new crop of shows presenting tough challenges to splendid stage actors including DeVito. They don’t all pay off.
“Fat Ham,” James Ijames’s comic riff on “Hamlet,” features a fine Studio Theatre cast headed by Marquis D. Gibson.
“Artificial Flavors” by the Civilians generates new musicals nightly, courtesy of Chat GPT.
Rorschach Theatre stages a parody of George A. Romero’s 1968 horror classic, “Night of the Living Dead.”
A revival of 1975’s “The Wiz” stops at D.C.’s National Theatre for the week, before a planned Broadway run this spring.
Selina Fillinger’s White House farce was a riot last year on Broadway, and it’s even funnier in D.C.
A Broadway revival of “Cabaret,” directed by Rebecca Frecknall and co-starring Gayle Rankin, will transform the August Wilson Theatre into a decadent Berlin club.
The world premiere of Stephen Sondheim and David Ives’s “Here We Are” has a dazzling cast and design, but a sense of incompleteness diminishes its impact.
Theater J’s “The Chameleon,” a comedy about Jewish life in America, arrives at a delicate moment.
“Purlie Victorious” by Ossie Davis finds Tony-winning “Hamilton” star Leslie Odom Jr. back in the Times Square limelight
The Library of Congress receives artifacts from the Broadway musical for archiving.
A sluggish environment complicates the business fortunes of productions birthed on Broadway since the pandemic.
“Gutenberg! The Musical” runs on comic fuel supplied by a pair of consummate Broadway clowns.
Daniel Radcliffe, Jonathan Groff and Lindsay Mendez breathe new life into Stephen Sondheim and George Furth’s “Merrily We Roll Along”
A state law seeking to bar anyone under 18 from “sexually oriented” live shows content has a chilling effect
Jocelyn Bioh’s wickedly entertaining comedy, “Jaja’s African Hair Braiding,” opens on Broadway