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Singer-songwriter’s alt-rock album “Girlfriend” is now the score to Signature’s “Girlfriend.”
Alexander Strain found his day job, in social work, reflected in this play about depression, “Every Brilliant Thing.”
The Rock-Ola from the original staging of “Two Trains Running” lights up the stage again.
In ‘Nothing to Lose (but Our Chains),’ standup comic Felonious Munk gives voice to some of his victims.
Christina Ham’s fantasy, opening at Arena Stage, depicts the activist “trying to tell a truth.”
The living-installation “Hello, My Name Is . . .” is staged in a house in the D.C. neighborhood of Takoma Park.
Robert Richmond, the director, went to Rome to brainstorm and prepare for staging the complex play.
At Rorschach Theatre, the audience shares the space and the experience.
“The Devil’s Music,” taking nearly a decade to make, opens Aug. 24 at Atlas Performing Arts Center.
The composer loved the film and teamed up with the writer for a show premiering at Keegan.
The story set in the colonial era was mostly only updated in its cast and design for the run at Kennedy Center.
“A one-person play allowed me to be more romantic and physical,” says writer Terry Baum.
Eugene Lee stars in the one-man show about the revered playwright coming of age in Pittsburgh.
A 1666 classic by Molière gets a freshening up but keeps the delightful rhyming verse.
Director Luis Salgado sees parallels in Lin-Manuel Miranda’s immigrant-centered musicals.
The play, at Atlas, explores an interview for South Africa’s Truth and Reconciliation Commission.
The world premiere at Signature explores dark corners of life in isolated Middle America.
In ‘The How and the Why,” two female evolutionary biologists grapple with life choices.
How an unlikely manners class evolved into “Charm” at Mosaic Theatre.
Tom Story describes directing multiple characters, and playing multiple characters himself.
Production will use a scaled-back orchestra and multiethnic cast for the innovative musical.
A young black man dies, yes, but the playwright has a deeper truth in mind.
“You dial up the bizarreness, you magnify the emotions,” says playwright Kate Hamill.
Show’s costume designer had to come up with sturdy — but sexy! — stilettos.
Playwright Aaron Posner grapples with the Shylock problem.
Music, plays, poetry — and a very modern, very big version of the Celtic harp.
At Pointless Theatre, drama meets slapstick meets puppets in “Hugo Ball.”
Gala Hispanic Theatre sets ‘Chronicle of a Death Foretold’ in a cockfighting ring.
WILD WITH HAPPY
By Colman Domingo
through June 29 At Center Stage
There’s a scene early in Colman Domingo’s Wild with Happy at Center Stage where the protagonist, a 40-…
Vanya and Sonia and Masha and Spike
by Christopher Durang
Directed by Eric Rosen
Through May 25 At Center Stage
Anton Chekhov thought of his plays as comedies, while Konstantin Stani…
Pete Ross says that a survey of printed material in the United States between the 1730s and the 1830s turns up 58 different references to the banjo—and 57 of those citations describe the i…