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The production of the Yasmina Reza play never really finds its comic stride.
The folk-pop musical “Fly by Night” at 1st Stage also picks up four wins at the “drama prom.”
“Now it’s just about execution,” founder Joy Zinoman said of the Studio Acting Conservatory.
After a successful “In the Heights,” director-choreographer Luis Salgado returns to GALA Hispanic Theatre.
Timothy Douglas puts tall tales on a small stage at Signature Theatre.
Dawn Ursula and Erika Rose reprise their roles while a last chapter gets written.
The testimonial drama anchors Georgetown University’s international theater and politics festival.
Performances of the ensemble show will resume May 14.
The show gets meta as the famed Shakespearean library inspires the set.
The British drama gets a vivid area premiere at Studio Theatre.
Two plays set in schools get mixed results.
The only surviving Greek trilogy is coming to Sidney Harman Hall as Michael Kahn’s final production as STC artistic director.
The theaters are aiming to get their old programs, photos and other archival material in order, perhaps for public access.
The James Baldwin-Richard Wright flap goes hip-hop in the new Psalmayene 24 play.
Ken Ludwig’s 1980s hit “Lend Me a Tenor” gets a sequel, but the backstage farce doesn’t quite hit its mark.
A Bieber figure gets the reality-TV treatment in “P.Y.G., or the Mis-Edumacation of Dorian Belle”
A discussion that touches on the “Hamilton” effect, directing and white patronage, August Wilson and more.
‘The Peculiar Patriot,’ Liza Jessie Peterson’s solo show at Woolly Mammoth, is a personable take on our prison system.
At the Kennedy Center, the Fukushima-set “Falling Out” opens the festival.
Chazz Palminteri’s signature fable gets another incarnation.
Washington Stage Guild presents the area debut, and Nu Sass stages the whimsical “Dead Dog’s Bone.”
A classic work gets a modern rewrite at D.C.’s Undercroft Theatre.
Theater J offers an English-language debut from the Yiddish canon.
The news catches up to a play that questions privilege.
The Keegan Theatre show needs more horsepower to drive the Trey Anastasio score.
D.C.’s Solas Nua has imported the show from Dublin’s Fishamble troupe.
The troupe’s “Limits” arrives at the Kennedy Center from Sweden.
The ‘novel without a hero’ takes a shine to its durable antiheroine.
And at the D.C. Arts Center, John Feffer offers a solo travelogue of North Korea.
“Nothing’s too sacred to re-examine,” says the adapter of “Vanity Fair.”
Director Seema Sueko has cast her production splendidly, with Laura C. Harris holding the spotlight as a whip-smart but paralyzingly anxious Catherine.