Arlington’s Synetic Theater transports audiences to the fairy tale realm of enchanted forests and love at first sight in its latest wordless adaptation.
Christmastime is officially upon us, heralded by the copious variants of Charles Dickens’ Yuletide classic A Christmas Carol springing up around the Washington, D.C. metro area. Offerings include the “must-see holiday tradition” at Ford’s Theatre, a musical version at Toby’s Dinner Theatre in Columbia, Md., and an intimate solo rendition of the classic at Olney […]
Director Shirley Serotsky’s touching Broadway Bound at 1st Stage is a captivating mix of coping humor and tragic poignancy, borne aloft by Teresa Castracane’s soaring performance as Kate Jerome, a stoic, mid-20th century working-class mother and wife.
Bethesda, Md.-based Quotidian Theatre Company opens its 2016-2017 season with The Night Alive, the most recent, critically acclaimed drama from Conor McPherson, one of contemporary theater’s brightest lights. The 2013 play received positive reviews for its London and Off-Broadway runs and won the New York Drama Critics Circle Award for Best Play. The Night Alive, McPherson’s latest […]
The Little Foxes is at once an old-fashioned melodrama and a biting critique, seemingly written for today, of the hotly resented “1 percent”. The play’s set up and mechanics feel like an old-time curio at times, or a look into the past, but is also unmistakably and curiously relevant to the socio-political discourse of this […]
A variety of unrelated acts—song and dance, comedy, acrobatics, pantomime, magic—vaudeville was the popular American entertainment before radio, film and television. Happenstance Theater, a group of local, contemporary vaudevillians to the core, have picked and plucked from America’s once-dominant theatrical art form and re-contextualized it in loving homage in Moxie, A Happenstance Vaudeville.
There’s a lot of serious stuff exposed in Ayad Akhtar’s incendiary Disgraced, currently at Arena Stage. The 90-minute one act asks tough questions, presents thorny dilemmas, uncorks usually well-kept prejudices and provokes an intellectual and emotional reaction from viewers.
I’ll get right to it: For all the big-time awards bestowed upon it and its marketing promising profound discoveries at the end of an artful journey, David Auburn’s Proof is puzzlingly flat.
The play’s final words sum it up best: “This heavy act with heavy heart relate.” The Shakespeare Theatre Company’s production of William Shakespeare’s Othello is decidedly heavy on the heavy, sonorous and austere.
The narrator clues us in at the outset that what we’ll be watching are the shadows of memories. This “truth in the pleasant disguise of illusion” are Tom’s sheltered remembrances of the last days spent with his fragile sister Laura and desperately grasping mother Amanda before abandoning them to their wretched fate.