Ten years. Eighty-two productions — two hundred thirty-eight, if you count each short production separately. An Osborne Award. A Steinberg honor. Over fifteen hundred artists — and it’s over. Done. Gone. The Source Festival is finished. Next June, the revered 14th Street theater space will be open for other business.
It was back in 2008 that CulturalDC created the three-week Source Festival, a vehicle for launching new plays and fostering the careers of emerging artists. After 10 successful events, the organization announced the Festival will be no more.
If you’re like me, you’ve already done your Christmas shopping, filled out your budget for the next fiscal year, and made arrangements for your final repose after The Event Which Awaits Us All occurs. Now it’s time for something much more difficult: planning your theater season.
Love theater, but have a limited attention span when the summer weather is calling? You might want to swing by the ninth annual CulturalDC Source Festival running through July 3rd.
The transgender community’s newfound visibility and public support, after years of living in the shadows, has not come easily. Georgette Kelly’s moving Ballast follows the journeys of several transgender people and their loved ones, examining the emotional fallout and public consequences that arise when people flip long-held gender norms on their head to lead more […]
Dreams are, by and large, a random jumble of thoughts and experiences remixed by our subconscious. They may not make a lot of sense, but they certainly leave an impact. That’s largely how I felt about Crossroads – a cryptic yet moving meditation on the intersection of dreams and reality, now playing at Source Festival.
Crisp, lively, funny and full of life — although not always perfectly successful — the six ten-minute plays in the Source Festival’s Secrets and Sound cohort is a mood elevator…not only in the immediate sense, but in the promise they hold for DC’s future playwrights, actors and directors. C’mon and take a look with me.
A member of his Cabinet asked President Woodrow Wilson how long it took him to prepare his speeches. “It depends,” he said. “If I am to speak for ten minutes, I need a week for preparation; if fifteen minutes, three days; if half an hour, two days; if an hour, I am ready now.”
The secret to writing a play which grabs you by the heart is to ask a narrative question and then answer it at precisely the right moment. Answer it too quickly, and you have a story which deflates like a badly-made cake, leaving the characters in a morass of recrimination and explanation. Take too long […]
The principal territory which the Artistic Blind Date lost&SOUND explores is secrets. This it holds in common, at least in part, with Static, the full-length play to which it is bonded, and it should have a particular resonance in this town.