• Review

Jez Butterworth offers up a ripping yarn, set in the time of Northern Ireland’s Troubles

  • Review

The co-commissioned work trowels on cliche to stifle considerable talent.

  • Review

In Kennedy Center performance, Brazilian dance company evokes the mangroves and creatures of the Capibaribe River.

  • Review

A world premiere asks whether “alternative facts” can be used for the greater good.

Composer Alan Menken considers the lampoon of a low-budget sci-fi movie his masterpiece.

The troupe 600 Highwaymen brings the experimental show about the human bond to Woolly Mammoth.

  • Review

“The Fall” at Studio Theatre portrays post-apartheid life for black students.

The new hire comes from Theater J.

  • Review

The 1997 Pulitzer winner’s depiction of abuse has not dulled.

  • Review

‘New Guidelines for Peaceful Times’ at Spooky Action freshens an old interrogation model.

  • Review

“Measure for Measure” comes to Kennedy Center via Declan Donnellan and Cheek by Jowl.

Australian composer Eddie Perfect wrote the score for the film-based musical premiering at D.C.’s National Theatre.

  • Review

Another pre-Halloween offering: Creative Cauldron’s “Nevermore.”

  • Celia Wren
  • ·
  • Oct 9
  • ·
  • Review

The Washington Stage Guild production, in the intimate Undercroft Theatre, jolts your senses.

  • Review

‘Camelot’ director Alan Paul tries his hand at Shakespeare’s early farce.

  • Review

Written and directed by Conor McPherson, the musical showcases healing power of song.

  • Review

The terrain looks familiar in a rom-com that goes from Blair to Brexit.

  • Review

Simon Stephens’s play takes the quantum- mechanics principle beyond literary cliche.

  • Celia Wren
  • ·
  • Sep 30
  • ·
  • Perspective

Four of 10 works this season are by female playwrights. That’s better than ever, but parity should be the goal.

  • Review

As the show on democratic principles opens at Ford’s Theatre, good luck leaving politics at the door.

Load More