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Playwright Antoinette Nwandu uses the language of the street to convey a universal message.
At the Olney Theatre, McKeown’s songs explore the relationship between an estranged mother and daughter.
Set in 1939, Theater J’s play has timely contemporary resonance.
Stage adaptation of popular ghost novel surprised its creator by becoming a scary good hit.
The show takes place at the Allegory, a bar in the Eaton Hotel.
‘I don’t want it to seem like the comedy stops and then the dancing begins.’
“We used to say, ‘We bleed Lehman green.’ The play captures all that.”
Liza Jessie Peterson wrote her one-woman play, a damning critique of mass incarceration, based on her experiences visiting prisons.
In a Baltimore suburb, Danielle Drakes tackles the famous riot play.
Malinda Kathleen Reese found fame on YouTube, where her channel, “Translator Fails,” now sends up Hollywood and pop hits.
Keith Hamilton Cobb analyzes more than just race and the iconic role.
The play about a controversial play gets a heartbeat from klezmer.
Beauty is an attitude in 1994 musical, which is based on 1869 novel by Iginio Ugo Tarchetti.
“Entirely Elvis,” at Signature Theatre, showcases his rawness and original sound.
Singer-songwriter’s alt-rock album “Girlfriend” is now the score to Signature’s “Girlfriend.”
The Rock-Ola from the original staging of “Two Trains Running” lights up the stage again.
Alexander Strain found his day job, in social work, reflected in this play about depression, “Every Brilliant Thing.”
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.