Dante Atkins

About Dante Atkins

Dante Atkins is a writer and a political communications professional from Los Angeles, currently serving an indefinite sentence on Capitol Hill. A talentless naif of the stage, Dante was roped into the local theater apparatus by his partner Emily, a multi-year veteran of the scene, and much to his chagrin found himself enjoying the drama so much he chose to write about it.

Dante has a perhaps unhealthy obsession with spiders, and can often be found embarrassing himself at local karaoke bars in the company of people who pretend not to know him. Dante is a former classicist, and seeks to be a walking answer to the question of what you can do with a BA in Latin.

A groundbreaking Roe at Arena Stage (review)

The opening night of Lisa Loomer’s Roe was the evening of January 18—a mere two days before the inauguration of a President who now unifies the federal government under a party that places its hostility to abortion rights front and center.

Fiasco Theater’s Into the Woods: A delightful, inventive re-imagining (review)

Stephen Sondheim’s musical Into the Woods has been the subject of numerous stage productions since its debut in 1986 and even a critically acclaimed film. As a result, the discerning theatergoer with a taste for original work might review the Kennedy Center schedule and perhaps pick something more original. That would be a mistake: Fiasco Theater’s […]

Daughter of the Regiment at Washington National Opera (review)

Whenever I attend an opera, I always try to ask myself, “if this were the first opera I were seeing, would I enjoy this performance?” After a quarter-century of seeing them, sometimes that first time perspective can be hard to find. But the Washington National Opera’s production of Gaetano Donizetti’s La Fille du Régiment (Daughter of the […]

dog & pony dc’s BEERTOWN in DC (review)

I’ve seen my fair share of interactive theater. I’ve even seen the occasional “immersive show” or two. But I’ve never quite been to something like Beertown, and you owe yourself this experience.

Fringe POP Private (review)

It’s delightful that Capital Fringe has its own dedicated, permanent theater spaces these days—because it’s the perfect place to take in an innovative, avant-garde arthouse-style show like POP Private.

Love’s LaBeers Lost from LiveArtDC (review)

  If you’re contemplating seeing Love’s LaBEERS Lost, and I hope you are, you might be thinking, “hey, it’s Shakespeare in a bar! We can get a drink and watch a comedy in an intimate venue and have a beer while we do it!”

Theresa Rebeck’s What We’re Up Against at Keegan (review)

The daily challenges faced by women in the workplace have increasingly become a cultural touchstone. In addition to traditional discussions of glass ceilings and equal pay, there is now an expanding awareness of the more subtle but equally problematic systemic inequalities women encounter in the office every day. Especially relevant? The phenomena Time recently called […]

Simon Helberg. Odd man out in Florence Foster Jenkins? Hardly.

One should probably not use the phrase “steals the show” to describe the performance of an actor in a movie featuring Meryl Streep as the leading lady, for such a thing is almost certainly impossible. But if it were possible, Simon Helberg’s turn as Cosme McMoon in Florence Foster Jenkins would serve as the ideal […]

Underneath the Lintel, Capital Fringe (review)

Part Monty Python, part Da Vinci Code, part Fiddler on the Roof, and part Albert Camus having an existential crisis, Glen Berger’s Underneath the Lintel is an engrossing one-man detective story, told here at Capital Fringe by a master actor giving a tour de force performance. If you have room in your closing weekend schedule, […]

Concrete Devotion (review)

I’ll be honest: I’m not usually a fan of interpretive dance. Most of the time, it’s nearly impossible for me to tell what’s being interpreted without having read it in the guide, which means that even if it’s aesthetically pleasing, it often feels random.

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