An Elvis impersonator is transformed into a drag diva in Round House's entertaining "Legend of Georgia McBride"
Michael Urie likens playing Bud Frump to "a big bowl of ice cream"
Woolly's "Botticelli in the Fire" offers both too much and too little in reimagining the Renaissance painter
Kander and Ebb's "The Scottsboro Boys" gives a dark slice of American history that old razzle-dazzle
In Round House Theatre's "The Legend of Georgia McBride," Rick Hammerly plays "a fixer" in high heels and a wig
Camelot is an intriguing, well-acted philosophical drama inflamed by lust and betrayal. (Pity about those songs, though.)
Bedlam's Saint Joan is lovingly produced but demands the patience of a saint
Siblings squabble in touching drama "Burst," while "The Invisible Hand" hangs an overwrought narrative on a solid hook
"Twelfth Night," "Hooded, Or Being Black for Dummies" and "Fun Home" among other winners
Baltimore theater presents a new adaptation of Peter Pan developed with the local LGBTQ community
Matthew Sweet's Girlfriend taps fully into a '90s pop sensibility, while Vietgone deploys a '70s groove
A skillfully depicted production of Beckett's enigmatic tragicomedy
A darkly humorous, timely exploration of wartime morality
Annie Baker's play revels in the nostalgia of a mid-Atlantic B&B
For Theater J's Adam Immerwahr, the questions raised by Roz and Ray are precisely the point