The cast and production all have their moments, but not always in sync in Mosaic's Sooner/Later
Synetic offers a dark, exciting, and brazenly inventive wordless interpretation of "Richard III"
Lewis plays the clownish everyman Costard in Folger's "lovely, romantic, silly production"
GALA's Fame the Musical remembers the name of the game but makes scant magic
"Spunk" magnificently winds its way through three Zora Neale Hurston short stories
The Helen Hayes Awards spread the love around, recognizing the best of D.C. theater across dozens of shows
Michael Kahn's curtain call at The Shakespeare Theatre Company is the breathtaking, deeply satisfying "The Oresteia"
Jeanne Paulsen and Naomi Jacobson enact a gripping tug-of-war between frenemies in Studio's vividly realized "The Children"
Folger's Love's Labor's Lost is a wonderful -- if uneven -- reimagining of Shakespeare's battle of the sexes
A rapid-fire spoof of one of Hitchcock's most famous films
Solid stagecraft and storytelling serve Constellation's inventive production of "The White Snake"
All's well that ends well for the departing artistic director of the Shakespeare Theatre Company
Everybody plays the fool in Olney's daft but apparently crowd-pleasing "A Comedy of Tenors"
"Grand Hotel" offers eye-popping design and a few fine performances amid a dry, jumbled delivery
Junk makes the world of banking genuinely interesting, but lacks any human connection