Reviews

Coursing through the unconventional participatory theater experience is a brilliantly original theme having to do with every body in the room. By JOHN STOLTENBERG

He is not the obvious type in Simon Godwin’s bracing modern-dress staging for Shakespeare Theatre Company, but he’s intriguingly human.  By TREY GRAHAM

Though somewhat dated, the popular musical shows how hope can often be more important than truth.  By ZOE WINSKY 

No one can satirize an egotistical man better than a woman.  By SOPHIA HOWES

Thankfully, the talented ensemble has enough personality to make up for the script’s relative blandness. By MELISSA LIN STURGES

Raunchy wit meets antiwar radicalism in this spectacularly entertaining debut production. By JOHN STOLTENBERG

Kate Hamill’s rollicking and fresh adaptation of Jane Austin’s marvelous classic modifies it to suit modern sense and sensibility. By JENNIFER GEORGIA

This is above all an actors’ play, and the level of acting in the production does full justice to Albee’s words and characters. By BOB ASHBY

Director Matthew Gardiner molds a ’70s-era rock musical into a timely and timeless production that feels fresh and relevant. By LISA TRAIGER

What begins as a bright, chaotic adaptation of a children’s cartoon evolves into a reminder that optimism, empathy, and imagination are paramount. By LAURA MILLS

This standout musical comedy production has style, timing, and big voices. By JEFFREY WALKER

In this deliriously witty, fast-paced, and fun-to-watch show are memorable aphorisms of advocacy for the first Englishwoman professional playwright. By JOHN STOLTENBERG

The production combines tradition and feminism into a feast for the eye, the ear, and the heart. By JENNIFER GEORGIA

Christopher Chen’s latest provocation serves up an ethical parable right out of a ‘Star Trek’ episode. By CHRIS KLIMEK

Set in 1970s Argentina, when a military dictatorship waged war against its own people, Marisela Treviño Orta’s striking play dramatizes one family’s suffering. By BOB ASHBY

Performed in concert with no set, Washington National Opera’s no-gimmicks production was riveting. By MARC FJOR

In an age of profound distrust, the show’s ability to bring a crowd of strangers together for a personal experience is, in itself, a brilliant thing. By MORGAN FEDDES SATRE 

The musical addresses fascism when our own country is passively embracing fascism. By GREGORY FORD

In keeping with the luxurious extravagance that F. Scott Fitzgerald wrote about, this show is wonderfully ostentatious in the best possible way. By ZOE WINSKY

A provocative, farcical race satire inspires a personal response. By MARC FJOR