E. M. Lewis, Women’s Voices Theater Festival

E. M. Lewis  is an award-winning playwright and librettist. Her new play Now Comes the Night opens at 1st Stage September 18.

Kiss Me Kate from NextStop (review)


NextStop Theatre Company presents Cole Porter’s classic American musical Kiss Me Kate as the first show in its third professional season. Already, the company has produced several polished and well-deserved sold out shows as well as Helen Hayes nods. It seems to be a great place to catch young performers graduated from some pretty impressive […]

Witches Vanish at Venus Theatre Company

Vivian Allvin in Witches Vanish at Venus Theatre Company

Entering the Venus theater, for the first time, I felt like a wide-eyed child. Vintage accessories, soft lavender walls, and the dimly lit lobby all suggested that the theater serves as a powerful vehicle for creativity. The safe space, allowed me to relax, feeling as though I was in the company of friends.

Scena’s cross-gendered Importance of Being Earnest (review)


It’s a strange, if exciting, thing to watch a production at war with it’s own thesis.

Signature’s revisit of musical The Fix (review)


Signature’s remounted musical The Fix puts the “nasty” in dynasty by skewering the nepotism and celebrity culture oozing from contemporary politics.

How We Died … and Bones in Whispers kick off Women’s Voices Theater Festival


The Women’s Voices Theater Festival began with two very different plays by two very different playwrights: How We Died of Disease-Related Illness by Miranda Rose Hall and Bones in Whispers by Kathleen Akerley. Both one-acts are directed by Longacre Lea auteur Akerley.

The Adventures of Prince Achmed with Tom Teasley (review)

Scene from Lotte Reiniger's The Adventures of Prince Achmed

It takes only a few seconds of flickering light to find oneself anticipating the delicate magic of the early film animation of Lotte Reiniger. And then musician Tom Teasley intervenes, launching into his surging, pulsating percussive overture, making this synthesized work of silent-film-cum-live-music come crashing dynamically into the twenty-first century. For a full ninety minutes, […]

Flashes of Brilliance in Solomon and Marion (review)

Claire Schoonover and Clayton Pelham in Solomon and Marion at Anacostia Playhouse (Photo courtesy of Anacostia Playhouse

South Africa and Anacostia Playhouse have one thing in common: they’re both usually sources for exceptional plays. South Africa’s John Kani/Athol Fugard playwriting and devising team made some of the best plays of the 20th century out of the struggle against the Apartheid regime. Anacostia Playhouse knows how to pick good theater; they’ve hosted the […]

One in the Chamber at Mead Theatre Lab (review)


Perhaps the best kind of political play is the one that has no message at all. With One in the Chamber, Marja-Lewis Ryan is not at all interested in making points, picking sides, or influencing your views; she simply wants to observe a corner of the world as it is, and let you take away […]

Family Portrait from DC Music Theatre Workshop (review)

Harv Lester and Katie McManus in Family Portrait (Photo: Michael Murphy)

DC Music Theatre Workshop makes its debut with Family Portrait, a musical written by British composer Theo Jamieson and being fully staged here for the very first time. The show is a collection of musical snapshots of a prototypical family. At opening, we see a picturesque arrangement of father, mother, daughters, and son, which proves – […]

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