• Review

A return to early antic style from the author of “Good People” and “Rabbit Hole.”

Offbeat acts — including spoken karaoke and “Mortified” — occupy a cabaret space.

What it’s like to go from jobless dancer to starring with American Ballet Theatre.


  • Review

At the National Gallery of Art, the chamber orchestra showed the composer’s many sides.

  • Charles T. Downey
  • ·
  • Review

Round House stages the Washington-area premiere of Lucas Hnath’s Broadway play.

  • Review

The William Finn-James Lapine musical weaves its way toward heartbreak.

  • Review

“Byhalia, Mississippi” does not begin to meet the arts center’s responsibilities for plays.

A director and a choreographer stage a landmark modernist poem.

  • Celia Wren
  • ·
  • Review

The play “#solestories” is flawed but displays ingenuity and vigor that are lacking in “Gwen & Ida.”

  • Celia Wren
  • ·
  • Review

Sarah Ruhl’s “The Oldest Boy” gets an area premiere at Spooky Action.

James Corden was a cheerleader on Broadway’s biggest night, but the show was uninspiring.

Anaïs Mitchell’s bluesy show based on a Greek myth collects an evening-high eight awards.

Here’s who received the coveted trophies on Broadway’s biggest night.

As the show about New York’s trans ballroom culture enters Season 2, here’s what the emphasis on self-presentation and voguing means.

  • Review

The tour of the Tony-winning revival comes to the Kennedy Center.

  • Perspective

Some choice comic work is nominated, but the voters tend to go for more dramatic turns.

  • Review

The art of the takedown gets updated rhyming verse.

  • Review

Young Jean Lee’s play with songs is a rock-and-roll reflection on mortality.

  • Review

Rajiv Joseph’s epic grapples with fiction as it spans decades of Russian history.

The surprisingly agile instrument is the focus of Pam Tanowitz’s charming “Gustave Le Gray No. 1,” for Miami City Ballet and Dance Theatre of Harlem.

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