ART REVIEW: Massive print show at National Gallery chronicles uniquely American rage
Among other things, “Three Centuries of American Prints” showcases works of public displeasure.
Review: ‘S-Town’ is audio storytelling at its finest
The new podcast from the team behind ‘Serial’ has become a phenomenon for a reason.
Driskell Center’s “Posing Beauty” exhibit explores positive black representation
The exhibit is one of the center’s largest, and is mainly composed of photography.
Review: Unexpected Stage Company’s ‘Zombie Prom’ is funny but forgettable
It’s the mix between ‘Grease’ and ‘The Walking Dead’ you didn’t necessarily need.
Review: “ICEBERGS” at Building Museum is Washington’s worst exhibition
“ICEBERGS” attempts to follow in this legacy of “WONDER” and “BEACH”, but lacks any of the quality that made the other two shine.
REVIEW: ‘The Flick’ at Signature Theatre wows with realism
Annie Baker’s Pulitzer-Prize winning play about a movie theater thrives off its bold singularity.
Review: At Signature, ‘Mrs. Miller Does Her Thing’ and we’re glad for it
The world premiere of James Lapine’s newest play was funny and thought-provoking.
Review: Ballet West’s ‘The Nutcracker’ brings holiday magic to the Kennedy Center
‘The Nutcracker’ at the Kennedy Center shines in every way.
Review: MFA dance thesis forces introspection and characterizes light
“Within wait also comes hope.”
The art of protest at the March for Our Lives
Homemade signs and sculptures calling for an end to gun violence rose above thousands of protestors in Washington D.C. on March 24.