One comfort in losing my mother at the age of 66 is that she comes to me in my dreams. Many nights, we get nocturnal do-overs as she stands before me healthy, warm and whole—the mother I remember, the mother as familiar to me as breathing.
It pains me to write this review of Dogfight at the Keegan Theatre. I’ve been a Keegan patron for years and was happy to experience its newly renovated space for the first time (it debuted in June), a fine accomplishment in this scrappy little theater’s trajectory.
E. M. Lewis is an award-winning playwright and librettist. Her new play Now Comes the Night opens at 1st Stage September 18.
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 […]
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.
It’s a strange, if exciting, thing to watch a production at war with it’s own thesis.
Signature’s remounted musical The Fix puts the “nasty” in dynasty by skewering the nepotism and celebrity culture oozing from contemporary politics.
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.
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, […]
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 […]