Jennifer Perry - Page 4

Featuring a compelling script, some of the best acting you're bound to see anywhere locally (most notably from Jon Hudson Odom) under the swift and inspired direction by Marti Lyons, and strong production elements (even music!), this is an unpredictable "only at Woolly" experience you won't want to miss. It's especially perfect for Pride Month.

The musical adaptation of Adrienne Shelly's screenplay WAITRESS made history on Broadway when it came in with the first all-female creative team led by Director Diane Paulus. However, it's noteworthy for another reason - Sara Bareilles' varied, character-driven music and lyrics that would, in any other year, probably have won the Tony Award. These are not the only selling points for the current national tour though. Some strong casting, a fierce band fully integrated into the diner setting (led by DC's own tremendously talented Jenny Cartney), and female characters you want to root for in Jessie Nelson's book make this one to see.

The combination of all of these voices and musicians sharing this powerful story set the concert on a good footing, initially. Unfortunately, the evening ended up being a disappointment.

While the musical itself may not be my personal cup of tea as a whole, some catchy music (performed by a killer all-female band and two endearing actors) and the sweet, throwback story make it worthy of some positive attention.

On May 3 and 4, 2018, the Music Center at Strathmore just outside of Washington, DC will play host to the world premiere of IRON & COAL. In the lead up to the concert, composer and performer Jeremy Schonfeld took time out of his busy schedule to answer a few questions via email about the concert, his approach to music, and more.

While the musical is not quite perfect, it's the strongest one I've seen this season in the DC area. I hope it has a future life beyond the production in Juneau later this year. It deserves it.

A solid production worth the effort to see.

With the juggernaut that is Hamilton playing DC this summer, it was probably a good marketing strategy for the Kennedy Center to use its new Broadway Center Stage series to (re)-introduce local audiences to Lin-Manuel Miranda's first Broadway musical, the Tony Award-winning In the Heights. Avid local theatergoers have likely seen the show before and fairly recently at that. Last season, Olney Theater Center and Round House Theatre co-produced a well-received production and GALA Hispanic Theatre presented the U.S. Spanish language premiere. However, the five-night, sold out run at Kennedy Center offers another look at the show - this time with an Encores-like staging featuring some of Broadway's best talent directed by original cast member Stephanie Klemons.

The show, aptly titled 'The Story Goes On,' featured an eclectic set list, but there was one common thread - each song was exceptionally well sung.

This production is worthy of an audience based on the story alone.

Madeline Joey Rose's solid research and attention to detail set her solo play apart from the myriad of others that have tried to introduce typical theatergoers to cultures (especially religious ones) that might be less familiar to them.

While Mr. Strong definitely did not fix the book issues that have plagued the show since its inception - and dare I say it made it even worse - this production is yet another example of why the show continues to be produced. The music is exceptional and at the Kennedy Center it's performed by some of the best in musical theater today.

Heather Raffo's play is challenging, but ultimately rewarding.

It's a powerful work and one of the strongest offerings to date in the ongoing Women's Voices Theater Festival. Under Adam Immerwahr's impeccable direction, a supremely talented cast brings out the best of the exceptional script.

While the script is not the most engaging, the acting work is exceptionally strong.

It's fun and sometimes that's all you need.

Under Ryan Rilette's excellent direction, a uniformly marvelous cast gives one of the best ensemble performances I've seen this season of a very strong play.

There's a lot to like at the World Stage Theater right now. While this production and any subsequent national tour stops is likely to find its most receptive audience in people with an upbringing and faith similar to my own, it's not only for those that can recite every verse of the title song (and many other hymns) without even thinking for a minute, or can identify with the idea of God showing His presence in their lives. The idea of putting yourself on a better path after losing your way is something most everyone, regardless of faith or lack thereof, can understand. Even if the whole idea sounds schmaltzy, at the very least there's reason enough to check out the many talented members of the young cast.

All told, 'Curve of Departure' is an eighty-minute emotional rollercoaster that packs more of a punch than any play I've seen this season.