6,907 stories from Washington Post
Like 'Moulin Rouge' Before It, Musical Takes an Unorthodox Leap to the Screen
Alice Ripley, All Alone on 'Sunday'
Arena Mounts a Classic In a Sparkling Setting
For Arena Stage, Bali Ha'i Was Calling
With 'South Pacific,' Arena Stage Takes On A Troubling Zeitgeist
A Musical Role Turns an Actor's Life Upside Down
Could this have worked in a scaled-down version in some off-Broadway hole in the wall? I don't think so; it's not even kitschy-funny. As it is, the only chills aroused by "Vampires" come in …
Baz Luhrmann Puts Puccini Back on the Map, on Broadway
A Constellation Of Distinguished Talent Shines at The 25th Honors
Gotta love Steve Martin's comments...
Here are some of the artists who died before they could make the cut. Call them our Honorary Honorees.
It's a daunting task, sifting through the tinsel and ribbons of dozens of artistic careers, weighing them against each other and coming up with a slate of Kennedy Center honorees.
You've heard the booming, mellifluous voice of Kennedy Center Honor recipient James Earl Jones countless times in television and film. But nowhere has the actor's impact been more profound t…
At crucial moments, teachers helped Chita Rivera become what she is today: her own person.
Back on a Broadway stage for the first time in nearly 40 years, Newman, whether he likes it or not, is the marquee attraction of the often delicately persuasive new production of Thornton Wi…
Baz Luhrmann Goes Out on a Limb and Puts 'La Boheme' on Broadway
Karen Ziemba Hears Music In the Repartee of 'Much Ado'
O Come, Y'all, Back to 'Tuna Christmas'
"The Secret Garden" with John Scherer.
Soprano Sylvia McNair, mezzo Amanda Watkins, tenor Jay Douglas, and baritone Brent Barrett sang warmly and naturally, with none of the arch, ego-ridden showmanship and smarmy, please-love-me razzmatazz that obliterates Rodgers's lucid simplicity.
Brent Barrett is a baritone? Really?
Images of the mangled World Trade Center facade lingered in director Nick Olcott's mind when he and scenic designer Tony Cisek first talked last year about how to visualize Chekhov's "The Ch…
By Peter Marks, Washington Post Staff Writer
If Vanessa Williams ever has occasion to look into your eyes and sing, "If I love you, that's the end of you," believe it. The lyrics are the handiwork of Oscar Hammerstein II, but the gaze belongs to Williams, who flashed it with steely abandon over the weekend in the Kennedy Center's memorably majestic concert version of Hammerstein's 1943 musical play, "Carmen Jones."
"I'm past that," said 13-year-old Cartier A. Williams when asked whether he would like to attend the prestigious Duke Ellington School of the Arts. He wasn't being boastful. The Washington native plays 'Da Kid opposite dance phenom Savion Glover in "Bring In 'da Noise, Bring In 'da Funk," the much-lauded dance-based chronicle of the African American experience in 20th-century show business, which whirls into the Warner Theatre tonight through Sunday.
Third item.
Not every top-rank Broadway hoofer can make the shift from legwork to classical work, but that's the leap Karen Ziemba has attempted, putting on a posh British accent and some becoming garde…
