Hannah Landsberger is excited to be writing for Broadway World.com. During the day she works as an analyst at SoundExchange, helping to make sure that musicians get paid for their work. She has worked with WSC Avant Bard, the Atlas Performing Arts Center and the Gala Hispanic Theatre in audience engagement and marketing.
Pinky Swear Production's Use All Available Doors is filled with a local pride that Washingtonians rarely get to experience. Unfortunately, this sense of hometown jubilation is hard to sustain through thetoo-long run time.BWW Review: THE NEW YORK CITY BALLET at The Kennedy Center March 29, 2018
The New York City Ballet has completed its annual pilgrimage to the Kennedy Center. This year the venerable company brings an offering of Balanchine, Martins, Peck, and more Balanchine to Washington. The choreography was well danced, and the orchestra sounded excellent. But compared to years past, the simplicity and repetitive nature of this program left me feeling underwhelmed.BWW Review: DIAVOLO: ARCHITECTURE IN MOTION at The Kennedy Center February 25, 2018
The American Ballet Theatre's current program at the Kennedy Center, featuring works by Ratmansky, Robbins, Millepied, and Wheeldon (as well as the full-length Whipped Cream, not covered in this review), is extremely well done but a little uninspiring. It's hard to fault the fantastic ABT dancers, but I was merely appreciative, not enthralled, by most of the pieces on offer.BWW Review: THE RED SHOES at The Kennedy Center October 12, 2017
The Red Shoes is almost more big-budget Broadway musical than ballet. With a sweeping score, dramatic narrative, and lavish production values, Matthew Bourne's production does nothing by halves.BWW Review: LOTUS at The Kennedy Center October 9, 2017
It's a real shame that you can't buy a ticket to a performance of Lotus, an exhilarating night of tap dancing and jazz excellence. That's because the performance was a one-night only, sold out performance full of incredible tap dance and music.BWW Review: CLOSER(GROUP) at Dance Place September 19, 2017
The New York City Ballet's technique, grace, and variety of programming is impeccable. The night feels like a quick tour through the dance and music of the past 100 years, starting with the jazz of George Gershwin and ending with the frenetic electronica of Dan Deacon. There's something for everyone here, whether you prefer your ballet classical or contemporary.BWW Review: BALLET ACROSS AMERICA at The Kennedy Center April 21, 2017
Ballet is always beautiful, but too often it also feels inaccessible and outdated. With Ballet Across America, The Kennedy Center banishes these concerns with a program full of relevance and joy. Misty Copeland has brought together three diverse companies who differ in style but share an impressive level of talent and passion. The cumulative effect is a vivid reminder of how effecting ballet can be.BWW Review: [GAY] CYMBELINE at Theatre Prometheus January 16, 2017
Perisphere Theater's Copenhagen left me feeling uneasy. Maybe this was this was exactly what I should have been feeling; the script, examines the morality of two scientists who worked on the atomic bomb. But despite the strong performances, something is missing from this production.BWW Review: BLACK DIAMOND by the Danish Dance Theatre at The Kennedy Center October 20, 2016
Two masked figures stand over a man lying on the floor. As they begin to dance, the man is swept up into an otherworldly spectacle. Dancers in black capes create a stream of movement across the stage, ushering the outsider and the audience into the strange world of Tim Rushton's choreography.BWW Review: BURIED CITIES at Source Festival June 22, 2016
Billed as an Irish dance place, Out of Time, presented as a part of the Kennedy Center's Ireland 100 festival, is actually much more. Equal parts dance, modern music performance, and memoir, Colin Dunne's stunning solo performance is full of depth and intelligence.BWW Reviews: THEY DON'T PAY? WE WON'T PAY! at Ambassador Theater March 8, 2016
There is little worse than a play that doesn't understand its purpose. They Don't Pay? We Won't Pay!, written by Dario Fo and produced by Ambassador Theater at the Mead Theatre Lab, cannot decide what it wants to be. Instead, the production vacillates between heavy-handed social commentary and overacted comedy. Despite a few strong performances, the production is weighed down by its cumbersome message and leaves the audience confused instead of inspired.BWW Review: FOR COLORED GIRLS/WORD BECOMES FLESH at Theater Alliance March 2, 2016
Molotov Theatre Group's Lovecraft: Nightmare Suite is a piece of Halloween candy: sweetly frightening but not enough to fill you up. The outline of the script and the excellent technical work promise captivating thrills which the performances never quite deliver.