There are only about a dozen cast members onstage at the exhilarating closing of Aida’s first act, but given their vocal power and emotional heft, you’d swear there were 30.
Review: The Comedy of Errors, plenty of hijinks with a splash of Broadway
Was Shakespeare’s The Comedy of Errors lacking for want of a Broadway-style splashy opening number? Probably not, but director Alan Paul has tinkered with the comedy by adding a handful of contemporary musical numbers to the mix. The songs break up the frenetic, nonsensical nature of the play, which like more than one of the […]
Review: The Wedding Singer at NextStop Theatre
Eye rolling and harrumphing over Broadway musical writers being out of ideas feels pretty banal at this stage in the game. It’s no secret that creators of musical theater are relying more than ever on movie and television adaptations (right now, two Disney movies, a Jack Black vehicle, an underwater cartoon series and a heartwarming […]
Review: Monumental cast gets its corner of the sky with Pippin
In Monumental Theatre Co.’s production of Pippin, young dreamers are still out to find their own corner of the sky — they’re just also likely to share that corner with their social media followers and be sure to take a selfie in the process.
Review: America’s Wives at Capital Fringe
Farah Lawal Harris’ America’s Wives is an extended metaphor, really. Its central two characters are both married to a distant, narcissistic, unfair man named America.
Review: The City Of… at Capital Fringe
Playwright Matthew Capodicasa has tapped into a truly terrifying idea in The City Of… The premise: What would happen if an entire town just gradually started forgetting everything about each other, themselves, and even about how to be human?
Review: Burst, new play from Parlor Room Theater
Amy Leigh Horan’s new play Burst is tough to watch — and at the same time, engrossing to watch — precisely because it feels so real.
Review: Synetic’s Titus Andronicus, wordless, bloodless yet chilling
Take out the words, and it turns out you can make Shakespeare’s most violent play even more brutal and terrifying.
The Winter’s Tale at Folger (review)
There’s no getting around it — The Winter’s Tale, as far as Shakespearean romances go, is a weird play. One King’s jealous rage springs into action for seemingly unfounded reasons. Huge chunks of action during the play’s conclusion happen offstage, and are summarized hurriedly in an aside. Oh, and there’s a bear.
A refreshed, updated Godspell at NextStop (review)
Followers of Jesus post Bible verses on Reddit. John the Baptist unplugs the wifi to get everyone’s attention. The surrendering of your cell phone or laptop is the ultimate show of commitment to the message. This is Godspell in 2018.
Review: It’s the Rest of the World That Looks So Small at Flying V
Those unfamiliar with the works of Jonathan Coulton are likely to find themselves going down the Google rabbit hole after seeing It’s the Rest of the World That Looks So Small, a theatrical revue celebrating the works of the quirky singer-songwriter.
Constellation’s take on Thornton Wilder’s The Skin of Our Teeth (review)
You know things are going to start getting weird when the woolly mammoth and the dinosaur show up at the front door.