How do you present Mozart's problematic, sexist Don Giovanni in the current #metoo climate?
Spend your gold on Simon Godwin’s extraordinary reboot of Timon of Athens, starring the phenomenal Kathryn Hunter.
James Baldwin's "The Amen Corner" feels remarkably fresh, original, and vitally important
Anne Washburn's "Shipwreck" goes after self-involved liberals, which is like shooting fish in a barrel
Delivered with '70s style and flair, the Folger's "Merry Wives of Windsor" is one of the best you'll ever see
Second City's She the People is a full-scale comic outrage at everything society expects of women
"The Woman in Black" owes much to old-fashioned stagecraft, but it takes its time getting where it's going
Folger's "Amadeus" offers an entertaining flight of historical fancy in the fictitious battle of Salieri v. Mozart.
With "Otello," the Washington National Opera offers an extremely satisfying, grim telling of a timely classic
"Everybody" puts amusing, compelling thought at the mercy of randomized casting
In "Escaped Alone," Caryl Churchill throws into question our sense of safety and civility in a rather unique manner
Peaky Blinders returns with its signature poise, power, and unfettered style
Heidi Schreck offers two hours of high-octane -- if overegged -- insight into her life-long love of the Constitution.
Jackie Sibblies Drury's "Fairview" offers a powerful, original, and unsettling study of race relations
Edward Gero puts Falstaff center stage in Folger’s 1 Henry IV