Alan Katz

About Alan Katz

Alan Katz is dramaturg, critic, epicure, and occasional director in the DC area. Alan has worked for a number of theaters and playwrights around the DC area including WSC Avant Bard, The Inkwell, the Folger Theater, and now with We Happy Few. He specializes in new play and adaptation dramaturgy, but he also reads Ancient Greek and works with Shakespeare every day as a librarian at the Folger Shakespeare Library. Alan helped create the BFA in Dramaturgy option at Carnegie Mellon and holds his MA in Theater History from Catholic University. He also excels at being a translator, poet, dog whisperer, house manager, Magic: the Gathering player, and he does the best roast chicken you've ever had in your life. Reach him at http://www.alanjaykatz.com or @dcdramaturg on Twitter.Want to see behind the scenes of DC theater? Want sneak peeks and instant reactions from the latest shows before all the reviews publish? Add dcdramaturg on Snapchat https://www.snapchat.com/add/dcdramaturg

Keegan’s Six Degrees Separates the Catcher from the Lie (review)

Six Degrees of Separation shares much in common with Catcher in the Rye, the novel at the play’s moral center. Both are full of terribly unlikable characters who can turn our loathing into self-reflection. Both turn a sad situation into something humorous, at least in their ability to elicit pathos. But most of all, they […]

A Kiss you’ll not forget at Woolly Mammoth (review)

American theater has been mucking about in the sandbox and, meanwhile, the playground, the school, and the entire world have been burning down around us. Those were my first thoughts after leaving Woolly Mammoth’s US premiere of Kiss – an enveloping feeling at once depressing and tantalizing.

FringePOP: Public (review)

“Will film kill off the the theater?” This question, often asked in existential anxiety by theatermakers at an undersold performance, may be the wrong one. That seems to be the message from Capital Fringe’s first ever self-produced program, FringePOP, an acronym for Performance Over Projection. This ambitious project rejects the premise of the opening question […]

Rorschach’s Bid to Save the World (review)

Everyone remembers their first contact with death. I don’t mean Death, though I assume that first face to “face” meeting in the no-longer flesh is quite memorable. I mean the first prehumous contact with death of someone close, when the mind begins to grasp the shattering gravity of what it means to be gone forever.

Come From Away shines light on little-known 9/11 story (review)

There’s a certain somber and sober tone you expect from shows about disasters. Representations of recent genocides or terrorist attacks especially take on an almost religious nature, a hushed sacrality where emotional highs can only be wrenching and painful. Not so for East Coast premiere 9/11 musical Come from Away, a toe-tapping Stomp and Holler affair […]

Seven Windows, Capital Fringe (review)

In the storytelling cacophony that is the Capital Fringe Festival, it is easy to forget the pure beauty of bodies in space moving with discipline and grace. Seven Windows provides that eye-in-the-storm relief in eleven short segments that show remarkable eclecticism and talent of both choreographer and cast, though the promised story is harder to […]

TARGET GOLDBERG (HELP! ROGUE GOVERNMENT AGENTS ARE TRYING TO FRAME ME!) Review

“We all live in stories,” says David J. Goldberg, actor, YouTube enthusiast, and, quite possibly, victim of a vast collusion of intelligence operatives who are conspiring to drive humanity into a state of total enslavement via information control.

We Know How You Die, UCB at Woolly (review)

I can tell you almost nothing about the content you would see if you went to We Know How You Die at Woolly Mammoth, anymore than I could tell you how you’re going to die.

Song Reader: The Musical (review)

Where can you experience the world premiere of a musical with songs by a 4-time platinum artist for only $17 a pop? At Capital Fringe, of course, with Song Reader: the Musical, an earnest and poppy take on a classic-story combo from a fresh-faced young theater company.

POE, TIMES TWO

Fear is one of the hardest feelings to convey in the emotional panoply of the theater, but POE, TIMES TWO, a solo retelling of two Edgar Allan Poe short stories, grabs the audience by the guts and pulls.

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