Alexander C. Kafka

This contemporary Dublin-pub take on a Dickensian tale is affecting as far as it goes. But it feels like only half a play.

Though musically uneven, this touring production of the Stephen Schwartz blockbuster is a treat.

Think you know the story of Cinderella? Think again. Jean-Christophe Maillot's version is warped and wonderful -- frenetic, funny, erotic, and emotionally powerful.

Philip Barry's 1928 classic is a romantic comedy, as advertised, but its layers of bittersweet emotional valence come through in this handsome production, directed by Anita Maynard-Losh.

Dance Theatre of Harlem presents the world premiere of 'Sounds of Hazel,' a celebration of Hazel Scott, at Sidney Harman Hall.

Bernstein's hugely ambitious ecclesiastical fever dream is a beautiful mess well worth experiencing.

The cabaret act turned full-production evening is well executed, but the script and songs are thin and in the Covid era the premise seems like a historical artifact.

Hailstork and Martin’s requiem is a grand, troubling, rich, and worthy work for an America still struggling to rise from its sometimes sordid history and violent predilections toward its lofty goals and promise.

The company hasn't visited The Kennedy Center for more than a decade. It's great to have it back with this charming Caribbean-inflected version of the Balanchine classic.

War is hell, but what, exactly, is served by a hellish choreographic critique of it -- alternatingly assaultive and monotonous -- in Akram Khan's final solo performance project?

At Round House Theatre, an alluring production of Lauren Yee's somewhat contrived 'The Great Leap,' a 'socio-political fable' about sports and Sino-American politics

The show still has a winning recipe, but this touring production doesn't measure up to its 2018 D.C. predecessor.

David Strathairn amazes in this tour-de-force one-man play, at Shakespeare Theatre Company through October 17. He portrays the Polish resistance fighter and diplomat who tried to warn the world about the Nazis' decimation of the Jews.

The mouthie from Southie was knocked up in high school and her now-grown daughter, Joyce, is disabled. Unreliable help from her landlady, the aptly named Dottie (Linda High) makes Margie late to work as a dollar-store cashier, so she loses yet another job. Without the nine-something an hour, how will she make rent?

A selection of Broadway standards by this accomplished singer and actor is a welcome summer treat.

'In the MOment: A Drawing Dance' will inspire its intended audience of 4-and-ups with its delightfully sleek, bouncy, playful universe of human movement and green-screen geometric exploration.

NextStop Theatre Company's 'First Date' has some chemistry, but the script can't figure out quite what genre it wants to be.