Andrew White

The Folger Theatre’s production of “Julius X,” Letson’s heartfelt and moving treatment of the break between Malcolm and the Nation of Islam, a break which culminated in his assassination at the hands of his former brothers, is a cautionary tale for our time—and for any time. 

Spooky Action Theater has upped the ante for D.C. theatre-goers with a production of one of Russia’s most beloved cautionary tales—“The Dragon,” by Russian playwright Evgeny Schvarts.

This year, the District Fringe Festival hosts a talented young performer, Erin Ellbogen, who takes us on a half-magical, half-film noir journey, in Corvin Kevlihan’s “Prey Most Difficult.”  It is a solid effort at breathing new life into epic poetry the likes of which we think are long gone; playwright Corvin Kevlihan reminds us they can live again on our lips once we understand the power still resides in us.

“Magdalene” is likely a play that will see numerous productions, given the times and the need for religious communities to break bread and try, in some way, to understand each other.  You should definitely take time out this July to see this remarkable reflection on two of Christianity’s most pivotal figures.

“Side Effects” is at heart a cautionary tale about what happens when we rely too much on the judgment of others, when professional knowledge pales in the face of simple human understanding.   Loomer takes us on a whirlwind tour of therapists, nurses, and others, all of them ably embodied by a company of talented shape-shifters who play a succession of nurses, therapists, friends and family. 

To be in the presence of Kevin Kling is to be in the presence of a consummate storyteller at the peak of his powers. “Unraveled” is about as life-affirming as it gets, and coming as it does from someone who bears his challenges with such grace and disarming honesty, perhaps one of the enduring themes of this performance is one of gratitude.

“Happy Fall” is a celebration of the art of stage combat and stunt work on film.  Audiences owe a huge debt to the men and women who put their bodies on the line so that our beloved stars (who truth be known aren’t allowed to do a fraction of the stuff we see on screen) can live to shoot another day.  Hats off to all of them.

Peggy McKowen, Artistic Director of the Contemporary American Theater Festival, knows there are some amazing stories to be told by West Virginians themselves, and for this year’s festival our attention is richly rewarded by an evening spent with native son Cody LeRoy Wilson and his one-man show, “Did My Grandfather Kill My Grandfather?”

“Liquid” is 60 minutes of nonstop punk, erotic, aerial fun—with whips and chains thrown in for good measure. The soundtrack accompanying the acts runs through a blistering mix of hit songs from Velvet Underground to My Chemical Romance, and beyond.  The variety and artistry on display are truly inspiring, and the gear, along with Raul Contreras’ smooth choreography—like Rocky Horror on steroids—provides a daring visual edge to the proceedings.

The ability to tell our stories and share of ourselves, with a community that is eager to reach out, is a superpower we all have.  We are, truly, indivisible; and we should take advantage of every chance we have to break bread, share our stories, and broaden our horizons. The Contemporary American Theater Festival has been one of West Virginia’s perennial treasures, and is well deserving of our support.  Be sure to plan your Summer around everything CATF has to offer!

Best Medicine Rep’s DC premiere of John Morogiello’s Blame it on Beckett is a hilarious reminder that sometimes, the real dramas play out in the back offices of our beloved regional theaters. 

Working from a series of oral history recordings, playwright Psalmayene 24 has assembled a truly moving piece of theatre that brings the many voices of Prince Georges’ past and present to bear witness, and bring to light struggles that we (or I, at least) knew nothing about. Director Tony Thomas has assembled a small and mighty cast, who introduce us to contemporaries from all walks of life, each of them speaking to their irrevocable connections to the America’s past. 

In collaboration with two innovative young companies from Ireland, Dublin’s Murmuration and Galway’s Brú Theatre, we have a vision of the future of theatre which takes the new technologies of sound and film in stride. The results are pieces that occur right next to you, enveloping you in a warmth you won’t find outside of that snug in your favorite pub.

We usually associate circuses with acrobats and clowning; it never occurs to us to think of circuses as an art form, with tremendous expressive potential. The New York Circus Project (NYCP), takes the art of the circus one dramatic step further.  Currently on its first national tour with their production of William Shakespeare’s “Hamlet,” co-created by Sam Landa and Emma Owens, the NYCP offers audiences an exhilarating take on a familiar tale. 

Playwright Donja R. Love refers to 'Beauty' as an offering, in the spiritual sense of the word; and it truly is one of the most uplifting cycles, in times of trouble and misunderstanding, we are likely to see.  Director Malika Oyetimein has marshalled a stellar cast, and guided this show with great care and compassion.

There is nothing in the world like a compelling, original story, well told.  And when the story is true, darkly and brilliantly real, it becomes absolutely indispensable. Playwright Mark St. Germain has plumbed the depths of the Holocaust to create a deeply moving one-man show, The Happiest Man on Earth. The journey veteran actor Kenneth Tigar takes us on is harrowing—but there is an epiphany, a moment, when the pain and anger and sorrow give way to pure joy.

With her play Enough to Let the Light In, Paloma Nozicka has crafted one of those great psychological thrillers; the build-up is slow but steady, the characters finely drawn, and the climax will make you jump.  But there’s no need for blood, it’s all in your head.  And if you are looking for an evening that gives you a few of those none-too-subtle psychological shocks, this year’s Contemporary American Theater Festival has just the ticket.

With Harmon dot aut’s semi-autobiographical play, Tornado Tastes Like Aluminum Sting, audiences at CATF will have that rarest of encounters—a play that reveals the world as it is experienced, and processed, by a profoundly autistic, synaesthetic pre-teen who can only communicate with the outside world through their first love, the world of film.  Oliver Butler has created an intensely intricate evening, demanding logistically and dramatically, which holds together in truly remarkable ways.

Believe it or not, Summer is coming.  After we sneeze our way through a way-too-flowery Spring, we get to contemplate the joys of those little weekend getaways here and there, sneaking out of town to enjoy some solid artistry in friendly locales. 

For family and friends who gathered at Round House Theatre to watch the latest crop of high school talent working on and offstage in Joe Calarco’s Spring Break, it was a chance to cheer on young people who have worked hard to create a compelling afternoon’s entertainment, both visually inventive and dramatically potent.