DCTS writer Susan Galbraith returns to the Prague Fringe festival with Protest by Vaclav Havel, produced by her company Alliance for New Music-Theatre. —————— Prague is a city of rooftops and spires. The terra cotta tiles stand out against the deep blue skies of this unseasonably hot May weather. The cobblestone-lined streets quickly train the unseasoned tourist […]
Black rage—internalized, until it’s not. Stories that carry like the blues. Language that ricochets like jazz. Penetration into the trauma of the black experience in America.
We may be some years removed from the height of the sexual abuse scandal that rocked the Catholic Church and gave Spotlight its turn on the Academy stage. But even if those events are no longer above the frontpage fold every day, the applicability of John Patrick Shanley’s tale of morality in the face of […]
A gunshot. Chaos. Followed by shock. And a nation, almost on cue and in sync, lets out a collective wail of grief. But the cries of a lone, new widow displease the gentry surrounding her in the aftermath so much so that her overwhelming anguish becomes a black stain on her character and a case […]
Putting together a satirical musical with nods at classic musicals (Annie, Les Miserables), the works of Brecht and Weill (The Threepenny Opera), and even Fringe theatre and launching it in NYC could be considered risky at best. Such a show might not appeal to the general public, and in terms of New York’s Broadway theatre, […]
The big question in Jazz is—where’s the music? This world premiere adaptation by Nambi E. Kelley of Toni Morrison’s 1992 book isn’t meant to be a song-and-dance show, but still it lacks the musicality and rhythm you associate with jazz and the musical structure used by Morrison when writing the book.
Is it possible to learn something new from a 400-year-old play? Yes, if the play is rich in insight and wisdom; if the production is attentive to detail and willing to take risks; and if there is a commitment to excellence by the company. WSC Avant Bard’s King Lear succeeds on all three counts, and […]
One barometer by which you can gauge the impact of a play is by whether it can be interpreted in wildly different ways by different audience members. Woolly Mammoth’s production of Taylor Mac’s darkly absurd HIR, with its microcosmic collapse and reinforcement of the patriarchy within the claustrophobic confine of one suburban home is a brilliant […]
Nevertheless, she persisted. Persisted, pushed back depression and doubt and the burden of care to accept her legacy of genius.
You might be tempted to dismiss Ulysses on Bottles as a niche-appeal “issue play,” but this first opening for Mosaic Theater since receiving the Outstanding Emerging Theater Company Award at last week’s Helen Hayes Awards shows why you would be wrong and why Mosaic will be an all-around heavyweight on the DC theatre scene for years to come.