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Review: The Comedy of Errors, plenty of hijinks with a splash of Broadway
Was Shakespeare’s The Comedy of Errors lacking for want of a Broadway-style splashy opening number? Probably not, but director Alan Paul has tinkered with the comedy by adding a handful of contemporary...
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National’s Park big screen turns from homerun recaps to WNO’s Barber of...
Washington National Opera, generously sponsored by Mars, Inc, has created what may be Washington’s most terrific recent tradition – “Opera in the Outfield.” There were 10,000 people reported to have...
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Labour of Love, hit West End political comedy, makes US debut at Olney
When Hamilton made the transition to London, some naysayers thought that the musical wouldn’t play as well on the other side of the pond because of its U.S.-centric political story and its celebration...
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How actor Jeff Wincott manages his busy TV and film career from DC
Editor’s note: Carrie Coon was an unknown Chicago actor before landing the role of Honey, the “pliant and sweetly sozzled soul” in Steppenwolf’s Whose Afraid of Virginia Woolf? (seen here in 2011)....
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Review: Labour of Love, a witty British brew of politics and romance
A comedy that mingles romance with politics and it’s not about porn stars and reality show moguls? Please let it be a breath of fresh air, I plea to the theatre gods, as I take my seat for Labour of...
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Review: Summerland, Civil War spirits or hoaxes, from Washington Stage Guild
Washington Stage Guild’s Summerland serves up spirits from the next world but fails to make much of the play’s unusual post-Civil War subject and its fascinating antagonist. Shortly after the Civil...
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Last chance for bargain tickets – Theatre Week closes this Sunday
The number one reason people give for not seeing live theatre: “Theatre’s just too expensive.” theatreWashington set out to overcome that barrier and build new and returning audiences. That commitment...
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Review: Poe musical Nevermore, chamber sized, is still evocative
How fitting that Creative Cauldron has chosen to revive an early success that fits perfectly with the darker aspects of the Halloween season. That brooding poet and spinner of fantastic tales Edgar...
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Review: La traviata, Washington National Opera’s season opener
The season’s opening night at Washington National Opera is always filled with excitement, but there were several elements that caused the atmosphere around Saturday evening’s La traviata to be...
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Review: Sleepy Hollow, Synetic-style. Macabre. Scary. Glorious.
Synetic’s Sleepy Hollow takes no cues from Disney’s version or even the 1999 remake by Tim Burton, which saw the tale go darker and deeper. It is far better—a richer, more provocative tale that blurs...
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Review: Coraline, Neil Gaimon’s creepy graphic novel, brought to life by...
From the onset, Coraline makes it clear in no uncertain terms that her name is pronounced “core” instead of the usual “care.” As such, the independent Coraline stakes out a solid sense as a girl who...
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Broadway’s Kerry Butler talks about Beetlejuice
With Halloween only weeks away, it seems fitting that the National Theatre will debut the world premiere musical Beetlejuice, based on Tim Burton’s wildly fun, demented 1988 movie, which helped make...
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Review: Measure for Measure brings visceral power and emotional truth to DC
Cheek by Jowl, London and The Pushkin Theatre, Moscow have brought to Washington a great Measure for Measure. The experience spoke straight to the heart of what we have been living in the nation’s...
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David Ives’ comedy Venus in Fur gets hyper-intimate experience in 4615...
– How does a company, becoming known for staging the classics, navigate what may be the trickiest of all comedies, Venus in Fur? And what is the connection between David Ives’ play and Macbeth? We...
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What’s Twelfth Night doing in a NY ’80’s queer club? Avant Bard adaptors...
William Shakespeare’s Twelfth Night, or What You Will has been probably adapted into more styles, settings than any of the Bard’s plays. Whether it’s Play On, a Broadway jukebox musical featuring the...
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Review: Anon(ymous)
In this play, Anon (Eiren Stevenson) and his mother Nemasani (Toni Rae Salmi) flee their war-desecrated county to go to a land that they have heard is just and prosperous. But when they get there, the...
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Performing The Fever in DC, its co-creators hope to repair “something that...
We can’t tell you much about 600 Highwaymen’s new show, The Fever, without spoiling the experience. Woolly Mammoth Theatre cryptically calls it a “spellbinding examination of how we assemble, organize,...
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Review: How I Learned to Drive. Round House production shows why it won Vogel...
It took a brave playwright to write How I Learned to Drive and it takes a brave company to stage it now, and if you go to see it with an open heart, you are a brave person, too. (l-r) Emily Townley...
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Review: Venus in Fur from Compass Rose
Venus in Fur is a complex play within an even more complex play. The story begins simply: director Thomas Novachek (Joe Mucciolo) has adapted nineteenth century writer Leopold von Sacher-Masoch’s novel...
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Rebecca Ende Lichtenberg named new Managing Director of Studio Theatre today
Studio Theatre’s Board of Trustees announced today that, after an extensive nationwide search for the position of its Managing Director, it has selected Rebecca Ende Lichtenberg, who has served in that...
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