What intrigues me about Michael Feinstein since he turned himself into the nation's leading big-band singer is that now when he does an act, he sings in not one but two distinct and attentio…
Friendly Fire's production of "A Touch of the Poet," starring Daniel J. Travanti, highlights the virtues of Eugene O'Neill's solid dysfunctional-family melodrama.
"Call Me Anne" reveals a Phillip Taratula as a talented writer and performer who has a gift for spoofing the fatuities of celebrities, but his formidable skills could have been put to better…
Goodwill is likely to carry audiences only so far with Greg Kotis' shrill holiday-time satire, directed with manic intensity by John Clancy, about the meaning of the season.
The Irish Rep's "A Child's Christmas in Wales" is more interested in innocence than introspection, and in a Christmas season unusually ripe for escapism, who can blame an audience for apprec…
"Beasley's Christmas Party," as presented by the estimable Keen Company, is a charmer. It's like looking at a favorite old chromolith Christmas card -- the kind where the snow is indicated b…
Lyrical, genuinely sentimental, and filled with a terrific social consciousness, Samm-Art Williams' "Home" takes theatregoers on a journey through roughly two decades of an African American'…
This terrific clown show provides dazzling stage magic.
Author Bob Stewart's premise is intriguing: A playwright rewrites his parents' 1947 wedding day to result in their not getting married. Yet, at 68 minutes, this three-actor playlet is both t…
If you're interested in the next generation of stage stars, catch "Spain." We'll be hearing more from all three actors on stage.
Billy Goda's "Dust" revives a genre not much seen in these parts in recent decades and always welcome: the potboiler thriller.
This lovely new musical making its U.S. debut at the National Yiddish Theatre Folksbiene presents a much darker story than can be found in lightweight Yiddish tales.
Brian d'Arcy James has big shoes to fill (literally) in Broadway's new musical.
When it premiered on Broadway in 1973, Tennessee Williams' "Out Cry" closed after only 12 performances. This revival by National Asian American Theatre Company, despite intriguing casting, o…
Wendy Kesselman's adaptation of Chekhov's story works much better as a drama than as a musical.
Like a cross between Monty Python and "The 39 Steps," with a soupçon of "The Threepenny Opera" and a dash of "Dr. Strangelove," "Improbable Frequency" is absolute entertainment, a silly t…
This entertaining show displays the second-generation star in fine (if not always perfect) voice and shape. You can see she's had some hard knocks but, damn it, she's still here - and she's …
It's not just Norm Lewis' baritone, with its texture of fine brocade, that makes women - and any number of men - go weak in the knees.
The masks are fabulous, ingeniously designed by the collaborative production's creative director, Roland Gebhardt, to serve to characterize the dancers as members of distinct societies.
The gorgeous but ultimately wearying "Opening Night" is too often unclear: Is it the play within a play? Are we somewhere else? Is that a producer or a writer?
The D.C. theatre market is all about being a self-starter.
Derailed tour leads to downfall.
One singer deserving a big hand for the kind of subtlety that all too often is allowed to go unrewarded is Jennifer Pade. It's meant as a high compliment to say hers is an especially civiliz…
An abidingly intriguing facet of Dexter's onstage persona is that it's split between the singing, which sounds as if it's coming from somewhere near the earth's molten core, and the chatter,…
The risk a singer takes that Valerie Lemon didn't consider when putting together "Music by Marvin Hamlisch" is the one involving the tunesmith reassessment such a project inevitably prompts.