A gentle, somewhat predictable road trip/coming-of-age-and-out story that is more cute than memorable.
Watching 'Our Son' is like dealing with a bouncer: you can see there's something important happening but can't get past the bulk in the way.
Like all great filmmaking, 'Luise' all great filmmaking shows rather than tells, and the effect comes like the rumbling of distant thunder.
The late August Wilson's "Radio Golf" closed out his celebrated Century Cycle with a stark, urgent drama set in 1997.
Avant Bard brings Madeleine George’s deviously clever, funny, and ultimately humanity-damning play to uproariously roaring life.
Swooningly melodic and accessible, the Washington National Opera's 'La bohème' is a reliable tear-jerker.
'Jennifer Who Is Leaving' is a refreshing reminder that not all great theater has to break transgressive ground or shock.
Aya Ogawa's The 'Nosebleed' is intelligent and amusing, but it leaves little space for its more compelling themes.
Despite Patrick Page's pulsar-like charisma in the titular role, 'King Lear' never quite comes together in a satisfying whole.
Synetic Theater's "Beauty and the Beast" is a wondrously entertaining fairy tale brought to extraordinary life.
Despite two uproarious turns from Michael Urie and Ryan Spahn, Talene Monahon's Jane Anger misses its feminist mark.
It's hard to imagine a better version of "The Tempest" than this production that positively vibrates with talent.
Simon Godwin makes the most of the machinations of a TV news show to tell Shakespeare's comic tale of mismatched romance.
Synetic's “Dracula” features powerful doses of murderous gothic mayhem, witty humor, and a touch of the erotic.
'Prognosis' is a powerful documentary following filmmaker Debra Chasnoff in her two-year battle with a cancer that ends her life.