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The School For Lies is a rom-com for wordsmiths and wig lovers
"King Lear" may be small in budget, but it's big in vision and has a grimly authentic lead in Rick Foucheux
Taylor Mac's Hir is an important treatment of gender identity, but it sometimes lacks nuance
Ilona Dulaski creates a memorably feisty Maria Callas in "Master Class"
Shakespeare's Timon can't be easy to stage, and that's why the unstoppable folks at Folger took it on.
Strong supporting performances can't compensate for the central failing in STC's Macbeth
WNO's "Madame Butterfly" blends beautiful opera with an overwhelming art concept
Arena's Smart People is a series of rushed vignettes and missed opportunities
A Raisin in the Sun endures as a timeless jewel, and Arena’s production is a chance to see it truly shine
Nilaja Sun gives a virtuoso performance that brings a powerful story to vivid life.
Hemingway fans will appreciate the faithfulness of The Select, but for everyone else it's a bit of a slog
Terence Blanchard's jazz opera Champion comes out swinging and delivers some powerful punches
The Washington National Opera's Dead Man Walking is what modern opera should be
Mike Bartlett's King Charles III is one regal encounter you won't want to miss
Arena's Watch on the Rhine struggles to master Lillian Hellman's challenging structure