Among all the fraught issues which torment the tortured search for peace in the Middle East, none spark a greater intransigence on the part of the State of Israel than the Right of Return — which is to say, the right of Palestinians chased from their homes in the revolution which established Israel in 1948 […]
Who says theater is not educational? Why, just this past weekend I learned that “bootycandy” is a euphemism for the penis.
Oberon, king of the fairies, has been challenged by his queen Titania to write a play to rival Shakespeare’s A Midsummer Night’s Dream without resorting to magic. But Oberon, though beautiful, falls far short of the queen’s request.
The timelessly wonderful Wizard of Oz still shimmers brightly. The familiar story that’s over a century old delights with each well-remembered sight, sound and scene at Creative Cauldron, rendered with care, creativity and love.
In its tenth anniversary, CulturalDC’s Source Festival has chosen to revisit one of its previous hits to celebrate, and has made the prime choice of Perfect Arrangement for this honor. It’s a for-sure laugh-riot, this 1950’s-set sitcom for the stage, and it has the cleverest of premises: Two gay men and two lesbian women hiding […]
Genius. Fearless. Absolutely fun. Flying V Fights: The Secret History of the Unknown World is a pop culture junkie’s wet dream. And, given the violence, skin, and sexual innuendos, there’s no better way to describe it.
Patsy Cline is easily the queen mother of country music—her importance to the genre on par with the Carter Family, Johnny Cash, Hank Williams, and Loretta Lynn. She was a pioneer, paving the way for country to go mainstream with her pop crossover hits and showing that women could hold their own in a tough, […]
UrbanArias pulls off a seemingly impossible task with Independence Eve by Sidney Marquez Boquiren and Daniel Neer, a chamber opera of three scenes with two singers, which deals with race relations in the US from the recent past to the near future all within 70 minutes.
In a formidable and diverse program Tuesday night, the New York City Ballet juxtaposed affable athleticism with social and romantic tensions. The former was represented by two Balanchine classics, Square Dance and Tarantella, and Aaron Copland’s Rodeo, reimagined by choreographer Justin Peck. The latter infused Alexei Ratmansky’s disquieting Odessa in its Washington premiere.
Playwright David Ives’s mastery of rhymed verse builds on Molière’s 17th-century comedy of manners. Together, they will leave your sides aching.