Few productions can claim to be as much of an institution as Shear Madness is to Washington, D.C. Celebrating 30 years at the Kennedy Center, this show has become once of theater's most notorious tourist traps. This comedic caper whose plot can vary wildly each night incentivizes repeat viewings to those who are true converts, proving why more than 3.4 million people have attended this production. And although the stereotype-laden script struggles when viewed in 2018, the immersive whodunnit remains an experience unique enough to justify Shear Madness's continued existence.

Prejudice and Immigration are teachable moments in Arena Stage's HOLD THESE TRUTHS, a one-man play about a young man who stood alone against the injustice of WWII Japanese American internment camps. This interview features director, Jessica Kubzansky, and actor, Ryun Yu, discussing the parallels between 1940's racial issues and policies and today.

The Women's Voices Theater Festival may be winding down in D.C. proper, but Alexandria's MetroStage is looking to keep the focus on female-centered stories with their Spring Solo Series. The second of these one-woman shows, George-Don't Do That: The Music and Magic of Joyce Grenfell, is a love-filled tribute to British comedienne Joyce Grenfell who became a global sensation in the mid-20th century thanks to her intellectual satire and good natured spirit. Despite clear adoration for the play's subject, the work doesn't properly explain who Ms. Grenfell is or why she became so famous, information which would be helpful for a modern American audience.

The show, aptly titled 'The Story Goes On,' featured an eclectic set list, but there was one common thread - each song was exceptionally well sung.

This production is worthy of an audience based on the story alone.

Madeline Joey Rose's solid research and attention to detail set her solo play apart from the myriad of others that have tried to introduce typical theatergoers to cultures (especially religious ones) that might be less familiar to them.

While Mr. Strong definitely did not fix the book issues that have plagued the show since its inception - and dare I say it made it even worse - this production is yet another example of why the show continues to be produced. The music is exceptional and at the Kennedy Center it's performed by some of the best in musical theater today.

Heather Raffo's play is challenging, but ultimately rewarding.

It's a powerful work and one of the strongest offerings to date in the ongoing Women's Voices Theater Festival. Under Adam Immerwahr's impeccable direction, a supremely talented cast brings out the best of the exceptional script.

Sometimes touring productions of Broadway musicals are better than their original versions. When I first saw the Tony Award nominated musical Something Rotten in NYC, I found it to be forced and too over-the-top. The current touring production, now playing DC's National Theatre, features a cast that some might say is even better than the original. While all the laughs are still there, everything feels more natural.

Sometimes playwrights have a good idea for a script, but can't leave well enough alone. Such is the case with Laura Schelhardt and her world premiere commissioned play Digging Up Dessa, now playing in the Family Theater at Kennedy Center as part of the Women's Voices Theatre Festival.

A compelling blend of obscure history and a story seemingly ripped from the headlines, SOVEREIGNTY is a fitting entry in this year's Women's Voices in the Theatre Festival. Playwright Mary Kathryn Nagle has crafted a powerful rumination on Native American affairs and one woman's connection to her past and her own plight in the time of the 'Me too' movement.

There's a lot to like at the World Stage Theater right now. While this production and any subsequent national tour stops is likely to find its most receptive audience in people with an upbringing and faith similar to my own, it's not only for those that can recite every verse of the title song (and many other hymns) without even thinking for a minute, or can identify with the idea of God showing His presence in their lives. The idea of putting yourself on a better path after losing your way is something most everyone, regardless of faith or lack thereof, can understand. Even if the whole idea sounds schmaltzy, at the very least there's reason enough to check out the many talented members of the young cast.

A modern day holiday season might include such activities as camping out at Walmart for a 3:00 AM special on a flat screen TV for $25.00 or playing with the latest electronic gadgets that are out there. DC's little jewel of a theater, Washington Stage Guild, takes us back to a time when people actually sat around the fireplace, told stories, sang Christmas carols and hymns and wait for it talked to each other with the delightful holiday offering A Child's Christmas in Wales and Other Stories.

What happens when the cr me de la cr me of the DC theater community come together to create a brand-new theater for young audiences musical at the Kennedy Center? The answer is theatrical magic, that's what.

On Sunday, November 5, The Theatre Lab School of the Dramatic Arts hosted the 25th Anniversary Cabaret Dinner + Auction, the premiere event of the organization's milestone year. Held for the first time at the Ritz Carlton Washington, this year's Cabaret brought together around 500 artists, supporters, and friends of The Theatre Lab to enjoy great food and entertainment, and raise money to support educational programs. Through the generosity of guests, the evening raised more than $325,000 to bring the transformational power of theatre education to low-income children and teens, incarcerated and at-risk youth, homeless women in recovery, LGBTQ teens, older adults, wounded veterans, and more.

Some musicals from the golden age of Broadway are done to death. Let's face it, how many productions of Guys and Dolls and Fiddler on the Roof can you take? Anytime a theater chooses to produce a show that isn't seen as often as the aforementioned ones I get very excited. When they are presented well, my musical theater geekiness goes into overdrive. Arena Stage has put my geekiness into overdrive with its current production of the 1954 tuner The Pajama Game. With the exception of a production at Roundabout Theatre Company a few years back, this show really isn't performed very often professionally anymore.

The pint size dynamo known as Nora Achrati is one of the area's most dynamic actresses so a show where it's just her and the audience should make for a great night of theatre. Achrati portrays five different characters in Paul Selig's ethereal and spiritual script Mystery School.

The University of Virginia Department of Drama presents SEVEN GUITARS by August Wilson, directed by Theresa M. Davis, Professor of Cross-Cultural Performance, in the Ruth Caplin Theatre!

Any musical theatre geek knows that Stephen Sondheim's central subjects for musicals are rarely light and fluffy individuals. Sweeney Todd has a barber who slits people's throats and Sunday in the Park with George has a painter who is a perfectionist and egomaniac.

Studio Theatre's production of The Effect explores love and mental health with heart-racing, gut-wrenching gusto.

Laundry night in our house doesn't garner much excitement. However, in the world of Dan Zanes, Claudia Eliaza and Yuriana Sobrino, hanging your socks out to dry leads you on a magical, musical, mystical journey up in the heavens, courtesy of a magic train. That is the basic premise of Night Train 57, Kennedy Center's latest co-commission with VSA, and trust me, this is one journey your whole family will want to take together.

BWW Review: CABARET at Shenandoah Conservatory, a brilliantly relevant and commanding journey that engages from beginning to end.