All posts by Kate Wingfield
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Review: “The Way of the World” at Folger Theatre
Theresa Rebeck's "The Way of the World" has a few moments of brilliance, but not enough to redeem it
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Review: “The Humans” at the Kennedy Center
Stephen Karam's "The Humans" is a gritty, affecting night to remember.
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Review: Twelfth Night at the Shakespeare Theatre is a “true original”
Shakespeare Theatre's Twelfth Night is a "true original"
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Strange Magic: Alcina at the Washington National Opera (Review)
Washington National Opera's "Alcina" showcases baroque music with a contemporary soul.
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Review: Signature Theatre’s “An Act of God”
Act of God is fun, irreverent, and pleasingly boundary-pushing
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Review: Synetic’s The Adventures of Peter Pan
"Peter Pan" is a grand adventure that's perfect for kids
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Review: Antony and Cleopatra at Folger Theatre
Shirine Babb rules all in "Antony and Cleopatra"
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Review: “The Price” at Arena Stage
Arhur Miller's "The Price" is the stuff of playwriting dreams
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Review: Harold Pinter’s “The Lover” and “The Collection”
Shakespeare Theatre's "The Lover" and "The Collection" offer Pinter at his best
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Review: Arena’s “Native Gardens” humorously tackles race, class and diversity
Karen Zacarias' Native Gardens offers a funny, D.C.-specific look at race and class in America
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Review: Woolly Mammoth’s The Arsonists
"The Arsonists" is a provocative, humorous allegory for our modern political times
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Review: Washington National Opera’s “Aida”
Aida's confusing staging is offset by powerful sopranos and grand production
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Review: “The School for Lies” at Shakespeare Theatre
The School For Lies is a rom-com for wordsmiths and wig lovers
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Review: Avant Bard’s “King Lear”
"King Lear" may be small in budget, but it's big in vision and has a grimly authentic lead in Rick Foucheux
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Review: “Hir” at Woolly Mammoth
Taylor Mac's Hir is an important treatment of gender identity, but it sometimes lacks nuance
