• 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
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  • 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.

The London smash by James Graham is making its U.S. debut at Olney Theatre.

  • Review

An earlier look at angry speech from the author of “The Originalist.”

The musical has won scads of awards and is hailed as a landmark. Who are the few poor souls who don’t actually love this thing?

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