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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.
The bio shows elbow aside plot, character and narrative for a different set of showbiz goals.
A non-Equity tour alights in D.C., but production isn’t the best look.
The violent concept has power, but some human drama gets cut away.
The sleeper indie film enjoys a different life onstage.
Mosaic’s “Shame 2.0” chronicles battles with the government, and the public.
The action-packed comedy at Woolly Mammoth follows young women through one wild and crazy night.
Woolly Mammoth dominates the play category, with three shows in a top slot.
1st Stage revisits one of the MacArthur “genius” grant winner’s early triumphs.
Facing the loss of its Crystal City venue to the retail giant, Synetic Theater searches for an affordable space.
This revival of the Fats Waller show is disjointed.
This semi-staged version features cast members that might be holding scripts but loses none of the Broadway talent.
Two shows in black and white.
The memorializing play is still personal and political in Keegan Theatre revival.
More dyspeptic social laughs from the writer of “Bad Jews.”
Genuinely catchy numbers keep Andrew Lloyd Webber musical rocking.
The Russian president as a trending topic in the American imagination.
“I wanted that six-to-six moment,” says director Sheldon Epps.
Heidi Schreck’s hit may come to Woolly at a later date.
The play by Keith Hamilton Cobb, who plays the lead part, is a diagnosis on race and theater.
Coming from Broadway to D.C.’s National Theatre, the production recruited from actual School of Rock branches, other music schools and music camps.
“She has a vast knowledge of the business models of theater,” says artistic director.