Marshall Bradshaw

About Marshall Bradshaw

Marshall Bradshaw is a DC-based critic, actor, and game designer. He spent his halcyon days performing Shakespeare and improv with the American University Rude Mechanicals and Elite Ballerina Corps, respectively. Since then, he has written for DC Theatre Scene and Washington City Paper, performed with St. Mark's Players and Fat & Greasy Citizens Brigade, and mounted an original American freeform LARP at MAGfest (Audience participation dialed up until the knob falls off!). You can find more of him on Twitter @dMarshallb

The Tarot Reading experiment – a vision for the future?

Something strange happened last Halloween: The Tarot Reading took its first steps. With both inaugural performances sold out, the brainchild of Alan Katz and Quill Nebeker could have a long future ahead. 

Straight White Men at Studio Theatre (review)

In Straight White Men, playwright Young Jean Lee finds remarkable insight and startling sympathy with our society’s least oppressed identity. Far from a brutal if well-deserved takedown, Lee digs deep into how her subjects think, feel, and suffer even as they try to do right by everyone else.

Fritz Lang’s silent movie Metropolis gets new Tom Teasley percussive score (review)

In Constellation Theatre Company’s screeningof Metropolis, Tom Teasley’s live music breathes new life into the 89-year-old classic. Every production in Constellation’s 10th season will feature live music, but this production takes that idea and runs with it. A Constellation collaborator since The Arabian Nights in their first season, Tom Teasley provides a live and partially […]

Stephen Spotswood’s Girl in the Red Corner (review)

The Welders’ latest show, Girl in the Red Corner by Stephen Spotswood, falls short of some expectations, but makes up for it in its many human moments delivered by its talented cast.

The Year of Magical Thinking at Arena Stage (review)

Switching between mediums can be as difficult as telling someone about a dream. If the new version cannot deliver on everything the original does (next to impossible), it better bring some valuable contributions to the story rooted in the new medium’s strengths.

Staceyann Chin in MotherStruck (review)

Staceyann Chin is a memoirist, a spoken-word poet, and a live wire. The best qualities of all three are on display in her autobiographical show, MotherStruck now at Studio Theatre.

The Diary of Anne Frank at Olney Theatre Center (review)

It is a daunting challenge to perform as Anne Frank. Not only is she an historical figure whose face is known worldwide, but she is also one who went through puberty during the events that made her famous. Anne received her diary for her thirteenth birthday and died almost three years later at Bergen-Belsen concentration […]

YOU HAVE MADE A STORY ON MY SKIN (review)

For a show about scars, YOU HAVE MADE A STORY ON MY SKIN is surprisingly comforting. It embodies a beautiful acceptance and even love for the wounded past and scarred present that make us who we are.

The Last Class: a Jazzercize Play (review)

The Last Class: a Jazzercize Play makes the most of its setting. The story is told in real time during an actual jazzercize routine. The cast’s hard-earned sweat is corporeal proof of their characters’ internal conflicts. There are no convenient black-outs or set-changes to catch your breath during. The relentless peppiness of the exercise routine and […]

Jamie and Duncan’s Glorious Suicide at the End of the World (review)

Jamie and Duncan’s Glorious Suicide at the End of the World is like a dream, effortlessly insane and delightful, though light on narrative. Matthew Schott and Alex Garretson wrote the show and star as the two last humans on Earth, Jamie and Duncan, respectively.

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