"Fargo," Noah Hawley's murderously affectionate take on the American Midwest, is back for another memorable season.
Woolly Mammoth's "Public Obscenities" traverses cultural and generational gaps to explore the complexity of connection.
The Washington National Opera's 'Romeo and Juliet' is the epitome of impending doom delivered with entertainment and style.
To see Jeanine Tersori's 'Grounded,' at the Washington National Opera, is to be dazzled by concept and execution alike.
A whirlwind of ideas and music, Macbeth in Stride delivers its own unique brand of Shakespearean interpretations.
A gentle, somewhat predictable road trip/coming-of-age-and-out story that is more cute than memorable.
Watching 'Our Son' is like dealing with a bouncer: you can see there's something important happening but can't get past the bulk in the way.
Like all great filmmaking, 'Luise' all great filmmaking shows rather than tells, and the effect comes like the rumbling of distant thunder.
The late August Wilson's "Radio Golf" closed out his celebrated Century Cycle with a stark, urgent drama set in 1997.
Avant Bard brings Madeleine George’s deviously clever, funny, and ultimately humanity-damning play to uproariously roaring life.
Swooningly melodic and accessible, the Washington National Opera's 'La bohème' is a reliable tear-jerker.
'Jennifer Who Is Leaving' is a refreshing reminder that not all great theater has to break transgressive ground or shock.
Aya Ogawa's The 'Nosebleed' is intelligent and amusing, but it leaves little space for its more compelling themes.
Despite Patrick Page's pulsar-like charisma in the titular role, 'King Lear' never quite comes together in a satisfying whole.
Synetic Theater's "Beauty and the Beast" is a wondrously entertaining fairy tale brought to extraordinary life.