Susan Galbraith

About Susan Galbraith

Susan Galbraith received a BA in English and Drama from Tufts University, graduating summa cum laude and Phi beta kappa. Settling in Minneapolis for a time, she earned an MFA from the University of Minnesota, founded a theatre company, Performers Ensemble, and also collaborated with Prince on writing songs and the first draft of Purple Rain. Susan was part of the acting company at Boston Shakespeare Company under Peter Sellars. Since 1991, she has made D.C. her home where she has enjoyed the opportunity to write plays, direct, act, and produce. She helped co-found Alliance for New Music-Theatre and collaborated on original works across disciplines, styles, and cultural expressions of music-theatre. For the Alliance, Susan adapted and directed Kafka's Metamorphosis and is currently collaborating with composer Maurice Saylor on adapting Karel Capek's R.U.R. (Rossum's Universal Robots) as a retro-futuristic musical.This Fall she directs an "apartment performance" of Vaclav Havel's Protest which will perform in D.C. and NYC.

Dead Man Walking at Washington National Opera (review)

The opera Dead Man Walking is a journey of harrowing truth and compelling beauty. If, as Sister Helen Prejean says, “ Grace is waking up to the gospel of encounter,” then Director Francesca Zambello and her company of stunning singer-actors has graced us with a revelatory theatrical encounter – that is to say an American […]

Rehearsing Dead Man Walking: Week 3, focus on Sister Helen’s Journey

How will Director Francesca Zambello accompany her singer’s journey on the dark and lonely path of playing the nun who befriended a convicted killer and witnessed his execution?  This is what I wondered while  watching Kate Lindsey prepare her Washington National Opera debut in the lead role of Sister Helen Prejean in Dead Man Walking.

Rehearsing Dead Man Walking: digging deeper in Week 2

I am being given an intimate look inside the rehearsal rooms of Washington National Opera’s Dead Man Walking under the direction of WNO’s Artistic Director Francesca Zambello. This report marks the end of Week 2 of rehearsals. Starting Monday, we are barely two weeks away from its opening night, February 25th.

Chronicling Washington National Opera’s Dead Man Walking: Rehearsals begin

A rare inside look at the making of an opera. Washington National Opera’s Artistic Director Francesca Zambello invited Susan Galbraith to sit in on rehearsals of Dead Man Walking. This is her first report.

Alvin Ailey American Dance Theater at the Kennedy Center (review)

Big News at the Kennedy Center. Alvin Ailey’s American Dance Theater rocked the place last night.. And no one rushed to exit the Opera House auditorium (as they often do at the KC) until the last bow was taken.

Rinde Eckert performs RIN: Tales from the Life of a Troubador at The Kennedy Center (review)

To the degree that a creative artist can draw you into his world and make you follow him regardless, to merge with his very humanity, that is the measure of his worth. By this measurement, Rinde Eckert is pure gold.

Mariinsky Ballet’s The Little Humpbacked Horse at The Kennedy Center (review)

Choreographer Alexei Ratmansky has created a dance-theatre piece that is part ballet, modern, and Russian folk dance with plenty of comical pantomime to share the much-beloved folktale of his country, The Little Humpbacked Horse.  

American Ballet Theatre’s Swan Lake at The Kennedy Center (review)

As I walked up the steps into Kennedy Center’s Opera House for the season’s opening of American Ballet Theatre’s Swan Lake, my heart was fluttering as if for a first love. As indeed it was; classical ballet was my earliest passion. No other performance art form promises such a sweet anti-gravitational lift. How we need […]

Kennedy Center classical season announced: Aida will lead off Washington National Opera’s season

Washington National Opera announced its programming for the 2017/2018 season on Monday, almost three months earlier than usual. The upcoming season is all part of Kennedy Center’s continued re-envisioning of its mission, that in addition to bearing the standard for “big” classical music in all its forms, will create a blended family of its member organizations […]

The Dictator’s Wife at Washington National Opera (review)

Watching an opera take its first life breath is witnessing a high-risk birth. There were some serious devotees on hand at Kennedy Center’s Family Theatre to support Washington National Opera’s fifth commission of a new hour-long opera.

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