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.

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.

Scena’s Someone is Going to Come: smart, compelling theatre (review)

Monday night, Jon Fosse’s play felt like a blast of early Pinter with some hoary frost of Edward Munch thrown in for good measure.  You know: a threesome locked for eternity in jealous triangulation, an alienated figure on a bridge captured in a silent scream, and even perhaps the hint of a lascivious vampire-woman hovering, her […]

The Marriage of Figaro from Washington National Opera (review)

As the dimming lights turned the deep red walls of the Kennedy Center Opera House into darkness, the spiky celestial chandeliers seemed to glow with unusual brilliance, welcoming us into another season of Washington National Opera.

Urinetown: The Musical from Constellation Theatre (review)

It takes a lot of balls but maybe not much brain to call a musical “Urinetown,” and the joke is made several times in the show just what a terrible name it is.  But that’s the point.  This constantly self-referential musical makes fun of the very form while ever stuffing the show with familiar boondoggle […]

Jason Loewith and Ryan Rilette team up to direct Angels in America

Twenty-five years ago at the small Eureka Theatre in downtown San Francisco, Tony Kushner pushed forth the first iteration of a play that would become what many feel is not only a great American play but one of only a handful of theatre works which thoroughly captured the zeitgeist of its time. This week Angels […]

Opera in Washington – The 2016-2017 Season

– Notes from the talk delivered by Susan Galbraith at The Smithsonian on August 16th – On a good day in the Greater Washington area there are more than 15 opera companies of various ilks and sizes. Not all present regular programming. Some, like Lorin Maazel’s Castleton  (still in hiatus after the maestro’s death), or Wolf […]

The Tempest, STC’s free for all (review)

For the past 25 years, Shakespeare Theatre Company (STC) has memorably gifted our community by remounting one of its recent favorite productions in free performances.  These used to be performed at Carter Baron that offered a sylvan setting, opportunities for family pre-show picnics on the grass, and the happenstance adventures of actors sharing the staging with […]

The Crucible at Glimmerglass Festival

In 1692, Tituba and a gaggle of Puritan girls frolicked by night in the woods outside Salem and allegedly conjured up the devil, an event that embroiled the witnesses and a whole township in a massive, tragic witch-hunt.  By night, during this summer of 2016, surrounded by the woods of Cooperstown New York, there has […]

Sweeney Todd at Glimmerglass Festival

 Is it true, as Stephen Sondheim insists, that mostly audience expectations dictate whether a work is to be experienced as an opera or a musical?  When pushed, however, he is equally adamant that his Sweeney Todd was squarely conceived as a musical.  Well, Artistic Director of the Glimmerglass Festival, Francesca Zambello, and the entire ensemble […]

The Thieving Magpie at Glimmerglass Festival

 Well, this one’s for the birds! Full disclosure. I love a production that is steeped in fanciful storytelling.  My background as a former teacher of theatre-movement makes me a sucker for anthropomorphic exploration in character building.  And I swoon for the bel canto vocal sound, its clear bell-like tones and the agility of the voices […]

Reprint Policy Our articles may not be reprinted in full but only as excerpts and those portions may only be used if a credit and link is provided to our website.
DC Theatre Scene is supported in part by the DC Commission on the Arts & Humanities and by the Humanities Council of Washington, DC.