Do I Hear A Waltz? Encores! Salvages Rodgers and Sondheim (Review)

Rodgers and Hammerstein wrote 11 Broadway musicals; five remain among the most popular ever written. Rodgers and Hart wrote some three dozen. Rodgers and Sondheim wrote only one, which neither of them liked. Do I Hear A Waltz? is a perfect selection of the Encores! concert series at New York City Center. Check out production […]

Dear Evan Hansen review: Pasek & Paul’s DC hit set to repeat Off-Broadway

The title character in the musical Dear Evan Hansen is a clinically anxious high school student who is so friendless that he can’t get any classmates to sign the cast on his broken arm, except an even worse misfit named Connor. But then Connor commits suicide, and his death turns Evan’s life around.  

Shuffle Along review: Audra McDonald tap dances in what the Tonys say is a new musical

“Shuffle Along is jazzy, tuneful, full of pep,” says one of the rave reviews from 1921 printed on the curtain during intermission at the Music Box Theater, where George C. Wolfe has mounted a revival of the all-black musical that deserves far more exuberant praise than “full of pep”: It is cataclysmically entertaining.

Fully Committed Review: Jesse Tyler Ferguson as 40 Characters in a trendy restaurant

Jesse Tyler Ferguson, Mitchell on “Modern Family”, is starring on Broadway in Fully Committed, portraying Sam, a struggling actor who works as a reservations clerk at a trendy Manhattan restaurant, as well as some 40 characters with whom Sam interacts.  It’s a soufflé of a show being sold as a full expensive meal.

Long Day’s Journey Into Night review: Jessica Lange as Eugene O’Neill’s Mother

“None of us can help the things life has done to us,” Jessica Lange says as Mary Tyrone. Mary is talking about one of her sons, a drunk, but she herself, a convent girl who married a matinee idol, has become a morphine addict. At the end of the night, she will descend into madness.

Tuck Everlasting Review: Broadway Musical About Immortality for 11-Year-Olds

The members of the Tuck family spend two hours trying to explain why it’s a curse to live forever, but it is only in the final 15 minutes of Tuck Everlasting that the musical drives home what a blessing it is to be mortal.  It does this with an extraordinary, wordless ballet.

Waitress review: Sara Bareilles’ sweet treat of a Broadway musical

There are good reasons to savor Waitress, the sweet and tart new musical confection about love and pie, deliciously performed at Broadway’s Brooks Atkinson Theater. Some of the reasons have nothing to do with what’s on stage.

American Psycho on Broadway (review)

American Psycho, a musical about a fashion-conscious serial killer, is not the most misbegotten show ever on Broadway.  It only feels that way for a couple of moments – such as the production number that features zombie-like movements by half-naked cast members smeared in blood.

On 400th anniversary of Shakespeare’s demise, companies break out the death scenes

In one way, Hamilton Clancy has outlived William Shakespeare, who died 400 years ago this week at the age of 52. Clancy is older than that. But Clancy has also died many times, and it’s all thanks to the Bard. “My very first death was easy: Mercutio in Romeo and Juliet,” says Clancy. “I died […]

Nathan The Wise: Jews, Muslims and Christians getting along a thousand years ago (review) 

Nathan the Wise, a fascinating old play that recalls an era when Jews, Muslims and Christians got along, begins at Classic Stage with an acknowledgement of the present: All the actors are arguing (in Arabic, Hebrew, Latin, German) — until F. Murray Abraham quiets everybody (in English): “We have a story to tell.”

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