Benjamin Tomchik - Page 7

Can three men sitting onstage change the world, or at least how we perceive it?

Passionate performances by Libor, Morris and Owens are what propel an otherwise adrift Flying Dutchman. Clearer staging and dynamic direction could have made this production of Wagner's classic opera thrilling.

Washington Stage Guild's production prudently balances the science fiction nature of Shaw's work with the greater philosophical discussions his plays' raise regarding the consistent need for humanity to keep developing.

While the Signature Tenors encompasses a diverse range of artists, ensuring there is something for everyone, the execution is a bit uneven.

If you abhor political incorrectness, violence or a morbid sense of humor then The Lieutenant of Inishmore isn't for you. McDonagh is out to send a message with this play and Constellation Theatre Company gruesomely delivers it.

When Andre De Shields steps onto the stage next week in Arena Stage's revival of August Wilson's King Hedley II, it will mark another in a series of firsts in a remarkable career.

By dispensing with British formality, Ken Ludwig has given us a play that is ingeniously funny and will keep you guessing until the curtain call.

Grain of Sand's You Can't Get a Decent Margarita at the North Pole is the perfect present for anyone looking for good old-fashioned kitschy Christmas fun this holiday season.

DC BroadwayWorld recently spoke with Sasha Hollinger where she talked about how George Mason University prepared her for a career in the performing arts, the advice she would give to current students hoping to follow in her footsteps, what audiences can expect from the Kennedy Center's upcoming tour of Joseph and the Amazing Technicolor Dreamcoat .

The Gift of Nothing is the perfect outing for families with young children hoping to see a meaningful show this holiday season.

Boy bands have long been a staple of American pop culture. They're also a staple of Arena Stage's re-imagined production of Five Guys Named Moe which opens this Thursday and is being billed as "big band meets boy band."

Handbag is rich with dramatic moments but ultimately never settles on whether it wants to be a prequel to The Importance of Being Earnest or a statement on parenthood in the twentieth century.

When Stephen Powell's Sweeney Todd lunges at the audience in vengeful anger declaring, "No ones in the chair, come on! Come on! Sweeney's waiting, I want you bleeders," It's hard to think of anything more thrilling. And yet, Powell's performance along with a glorious 28 piece orchestra only partially makes-up for the Virginia Opera Company's rather uneven production of Sweeney Todd: The Demon Barber of Fleet Street.

Erin Baltsar chats with DC BroadwayWorld about how she got involved with Girls Night, the audience reaction to the show and how a back flipping orphan in a community theatre production of Oliver inspired her to be an actress.

Creative Cauldron's 2014-15 season is entitled, “Oh the places we will go…” And it's hard not to feel transported back to 1950's Paris with their charming production of Jacques Brel Is Alive and Well and Living in Paris.

DC BroadwayWorld recently spoke with Bowman about why she's eager to perform at the Kennedy Center, how research and jumping rope helped prepare her to play iconic Argentine First Lady Eva Peron, what life is like on the Evita national tour and the advice she would give to other DC-area actresses hoping to follow in her footsteps.

The enchanted journey we embark upon with Washington National Opera's season opener Florencia in the Amazon is a production filled with beauty and a timeless truth.

Belleville may be a challenging play to sit through, but that doesn't stop Studio Theatre from staging an exceptionally solid production.

Arena Stage, D.C.'s venerable theatrical institution along the Potomac River, has established a reputation over its last 64 seasons for presenting works that challenge, engage and entertain audiences. The world-premiere production of Morris Panych's comedy The Shoplifters, which opens its season, seems poised to continue that tradition, all thanks to a shoplifter named Alma and a security guard named Otto.

When Landless Theatre Company announced that they were not only staging a production of Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street, but a Prog-Metal version of the musical, it caused many theatergoers to ask two questions: what is Prog-Metal and what does this mean for a show many consider a masterpiece?