Though well-acted, Evan Linder's "Byhalia, Mississippi" starts with a ton of promise, but stumbles on the landing
Synetic offers a dark, exciting, and brazenly inventive wordless interpretation of "Richard III"
WNO’s Tosca delivers its heroine and famous arias with atmosphere and intimacy.
Michael Kahn's curtain call at The Shakespeare Theatre Company is the breathtaking, deeply satisfying "The Oresteia"
Folger's Love's Labor's Lost is a wonderful -- if uneven -- reimagining of Shakespeare's battle of the sexes
Junk makes the world of banking genuinely interesting, but lacks any human connection
Arena's JQA is best left to the tourists and those who can never get enough educational theater
An old-fashioned charmer enhanced by an artistic eye, the WNO's Faust gives the Devil his due
The Washington National Opera's lovely, affecting "Eugene Onegin" offers a rare Russian treat
Shakespeare Theatre’s Richard the Third is fantastically devious and delightfully fun.
Alison Luff delivers a star turn in Folger Theatre's "Nell Gwynn," but the gender politics feel stuck in the 1600s
Kenneth Lin's Kleptocracy offers clever politics, but is let down by cheap imagery and a bland central performance
David Ives' "The Panties, The Partner and The Profit" offers bold idea, but a dearth of laughs
Shakespeare Theatre's "An Inspector Calls" is visually stunning, but loses details in its to-the-rafters delivery
“King John” may not be one of Shakespeare's greats, but Folger Theatre makes it a must-see