Roger Catlin, a member of the American Theatre Critics Association, is a Washington D.C.-based arts writer whose work appears regularly in SmithsonianMagazine.com. and AARP the Magazine. He has also written for The Washington Post, Entertainment Weekly, TV Guide and Salon and was a staff writer for The Hartford Courant in Connecticut for 25 years.
British playwright Mike Bartlett, born in 1980, takes up the legacy of London’s swinging 60s in his play Love Love Love currently running in a sharp, well-acted production at Studio Theatre.
The nationally traveling version of the Broadway musical has made its Washington premiere at the Kennedy Center and is already attracting large crowds of adults and many children, some of which are attired in the costumes of its lead characters Elsa and Anna (though mostly Elsa).
Michael Wilson’s adaptation of “A Christmas Carol: A Ghost Story of Christmas,” first staged in Houston but run for many years at Hartford Stage (where it has returned this season), has been a mainstay at the historic Fords since 2004.
Signature Theatre is helping expand the American Songbook to include rock and pop classics of a half century ago in cabaret shows this winter that will celebrate Leonard Cohen, Joni Mitchell and Burt Bacharach.
Out in an arid, underpopulated northeastern Brazil, an unusual but not entirely inconceivable love story plays out, presented as a kind of morality lesson or at least a cautionary tale.
Virginia Woolf was onto something when she wrote her novel “Orlando: A Biography” 95 years ago — a tall tale of aristocracy and adventure for a poet who also happens to change gender.
There may be no better town for political drama than Washington, and no theater more historically consequential than Ford’s Theatre, where Lincoln was assassinated 158 years ago.
The tantalizing notion of a forbidden romance was part of Tennessee Williams’ “The Night of the Iguana,” Colleen McCullough’s novel “The Thorn Birds” (made into a TV miniseries with Richard Chamberlain), and the hot priest that tantalized Phoebe Waller-Bridge’s “Fleabag.
It’s only the third time the Maryland regional powerhouses have collaborated, and people still recall their only other two such efforts, “Angels in America” in 2016 and “In the Heights in 2017.
The National Symphony Orchestra’s intent this weekend was to pay tribute to the 50th anniversary of native son Marvin Gaye’s classic “What’s Going On” album, a high water mark for both social commentary and Motown soul.