The Absolute Brightness of Leonard Pelkey brilliantly subverts both crime procedurals and comedy. This is a show not about catching the bad guys or laughing at weirdos, though it’ll trick you early on. By the end, you can count on a tear in your eye as you say goodbye to a small town and all […]
Brian Quijada is unstoppable. In his autobiographical Where Did We Sit on the Bus?, he sings, dances, and wields a live looper like a genius to create a solo performer musical that takes us all the way from his conception to a frank conversation about race with his future child, hitting all the most important […]
After nearly two centuries of begging, God allows Karl Marx a brief visit to Earth to clear his name. “I am NOT a Marxist!” he emphatically declares in historian Howard Zinn’s play. Were he alive, Marx would be 200 years old this year. He wrote Das Kapital 150 years ago. Zinn wrote Marx in Soho 19 […]
In two years, David Rodwin went out with 120 women. Evidently, that changes a man. F*ck Tinder, Rodwin’s solo show on his dating life, ranges from deep vulnerability to unrestrained boasting; it’s a wild time, good enough at least for a first date.
A holon, coined by Arthur Koestler in his book The Ghost in the Machine (1967), is philosophical term for something that is simultaneously a whole and a part. For example, Holon! is one whole dance performance that is also one of Capital Fringe 2018’s eleven dance & physical theatre shows. So, that’s two strikes towards […]
Sam Shepard’s obituary in the New York Times describes his plays as hallucinatory, though his Pulitzer Prize finalist, True West, is relatively close to naturalistic. Critics often count it as part of Shepard’s tragic Family Trio, even though it has plenty of opportunities for comedy. Rep Stage leans into the comedic and the bizarre, giving the […]
Girlfriend, a distinctly gay love story built around a specific alt-rock album, delivers a universal narrative of first time young love and the music that makes the teen years survivable.
Rapture, Blister, Burn is a masterful exploration of feminism in practice, and Maryland Ensemble Theatre (MET) gives it a sharp, engaging production sure to stoke important conversations over coffee after the show.
Perisphere Theater refreshes Molière’s classic Tartuffe with a skilled and playful cast. But you need be patient. The show digs itself a very deep hole in its first full scene, exhibiting most of its flaws well before it gets charming.
Safe as Houses seizes a few opportunities to explore how unintentionally hurting loved ones does not make that hurt any less your responsibility. It gets bogged down, however, in handwringing over a fantastical plot and fails to fully process this trauma.