The theater season in Washington, D.C. returns to robust pre-pandemic levels with an astounding array of dramas, comedies, and musicals.
Natasha Gordon's uneven play 'Nine Night,' now at Round House, works best in the quiet of Lilian Oben's subtle lead turn.
Synetic presents a second revival of the thrilling show in honor of the company's 20th anniversary, with updated sets and costumes.
Lynn Nottage's drama is structured in a way so every scene connects to the next to detail the international ivory trade industry.
Everyman Theatre kicks off its current season with a world-premiere production of a "wry look at what gets lost in translation."
A witty satire of corporate culture, Signature's "No Place to Go" proves a rich showcase of star Bobby Smith's impressive range.
“Old Stock is a music/theater hybrid, a concert klezmer/folk fusion,” says director Christian Barry. “It should feel a bit like the circus is coming to...
Cirque du Soleil's "Kurios: Cabinet of Curiosities" serves up a high-flying, steampunk spectacle under the Big Top at Tysons II.
Anthony Norman takes on the title role in the current national tour of 'Dear Evan Hansen' now at the Kennedy Center.
Signature’s stellar 'The Color Purple' wrings every triumph and tear out of Alice Walker’s beloved Black feminist saga.
Rotimi Agbabiaka plays a queer, gender-fluid King Oberon in Folger Theatre's 'A Midsummer Night's Dream.'
The Door Ministries of McAllen produced an unauthorized version of 'Hamilton' that included religious and homophobic rhetoric.
A stirring biography embedded in a staid musical, Arena's "American Prophet" brings the fire of Frederick Douglass.
The Folger's pared-down 'Midsummer Night's Dream' results in a production that never quite sees the forest for the trees.