Jennifer Perry - Page 14

I've been watching Ms. Ursula onstage in the DC area for years, and she's never failed to impress, but her performance here is simply at another level. I am glad she had the opportunity, under Eleanor Holdridge's thoughtful direction, to show us all of what she can do - and in a locally grown, thought-provoking, world premiere play at that.

Wajdi Mouawad's SEULS is memorable....

If I were to describe Martyna Majok's IRONBOUND in but a few words, I would refer to it as follows: "a deceptively simple, thought-provoking, and elegant work of art." This world premiere is Round House Theatre's contribution to Washington, DC's unprecedented Women's Voices Theater Festival, and it's a decidedly unmissable one to be sure.

This is the kind of theatre piece one does not often see in the Fringe and it's one with some promise.

I am happy to report that there's a lot to like in this drama with comedic undertones. If it is to have a future – whether in New York or elsewhere – there's a more than solid foundation from which to build.

The production is not without its challenges, but one has to certainly admire Producing Artistic Director Michael J. Bobbitt's drive to push the theatre to the next level.

It's quite easy to root for the success of the National Children's Theatre if this inaugural production is indicative of the kind of work it will bring to our community.

I had more fun at this Fringe production than I have at any other in a very long time.

While it addresses a most timely issue and would likely do well on the educational circuit, the production is unfortunately lacking in, well (it must be said)…theatricality.

Let's chalk this one up to a work in progress.

Bottom line? While there is nothing particularly new, original, or different about her story - and to be clear, that's what I usually look for in a solo show about one's own life - it is performed competently and likely to resonate with many audience members.

This one may not be quite ready for prime time, but the ambitious work has a few things going for it that would suggest there's promise in developing it further.

Do yourself a favor and check this one out.

Missteps aside, it's good to see Keegan back in action, and I look forward to what it offers next at their lovely intimate theatre space.

Bottom line? If you have an opportunity to check out one of the four remaining performances at Wolf Trap this weekend, it is worthwhile to do so.

It's an old-fashioned musical comedy - but not.

Every June, curious Washington, DC area theatregoers can experience the work of emerging local and national playwrights at the Source Festival, organized by CulturalDC. Divided into three themes - this year it's Mistakes and Media, Love and Botany, and Science and Soulmates - the festival comprises 3 full-length plays, 18 ten-minute plays, and 3 artistic blind dates that each relate to one of the themes. Local playwright Timothy Guillot's The Word and the Wasteland, presented as the centerpiece of 'Mistakes and Media,' is but one of the full-length plays offered this year. It is a solid example of the kind of challenging work the festival offers and is definitely worthy of an audience and, potentially, a future life with some refinement.

Featuring direction by Meredith McDonough, the Round House production brings out the best of Lucy Kirkwood's provocative play.

One of the fabulous things about living in the Washington, DC Metro Area is that opportunities to see theatre - and good theatre at that - exist throughout the year. The summer is no exception.

Historian Andrew Carroll's endeavor to turn his best-selling collections of wartime letters into a theatrical piece proves to be a most satisfying theatrical experience for audiences.