Jennifer Perry - Page 5

This production of THE SECRET GARDEN excels in nearly every way.

This production is a good introduction to BEAUTY AND THE BEAST. Adults will appreciate the strong voices and engaging story. The littlest patron will be enchanted.

The world premiere stage adaptation features some of Broadway and television's best creative talent, two extremely strong leads, and an infectiously energetic ensemble cast.

Let's just get right down to it. In 2014, Simon Stephens' highly acclaimed and award-winning play THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (based on Mark Haddon's novel of the same name) offered me one of my most memorable Broadway theatergoing experiences in years. Thus, I was most enthused by the news that it would tour, and play the Kennedy Center. While the cavernous Opera House may not be the most appropriate Kennedy Center space to view the play - especially from the rear orchestra where I was sitting - the current tour offers just as powerful of a theatergoing experience as my initial one.

I can nearly always count on the small, but mighty Forum Theatre to conjure up selections each season that are a little out-of-the-box, and present them with an abundance of creativity. Season 13 is no exception, and it starts off with the area premiere of Jonas Hassen Khemiri's I CALL MY BROTHERS (translated from Swedish by Rachel Willson-Broyles). In the intimate Silver Spring Black Box Theatre, Director Michael Dove and his strong cast of four deal well with the challenges and potential inherent in Khemiri's script, and give the audience a relevant night of theatre that ends - appropriately - with more questions than answers.

Featuring a book, music, and lyrics by the married Canadian duo of Irene Sankoff and David Hein, Come From Away explores a subject area that's bound to bring up some painful memories for some. It's a September 11th musical, but not in the way you might expect. It's not about the towers, the Pentagon, or even really the loss of life. it is a story of a community bonding together to embrace passengers on the 38 planes that were diverted to Canada - specifically Newfoundland - when the U.S. Government closed American air space for the first time in U.S. history. It's one of those untold stories that is practically perfect for an original musical.

This year, Levine Music is taking musical theatre education to the next level by offering a new program, called theBridge, in addition to its popular Pre-Professional and First Act programs.

Mike Daisey's captivating performance, capably directed by Isaac Butler, is a must-see.

Whether you share BeBe's upbringing and/or personal faith or not, it's impossible not to enjoy the music and talented vocalists in this show, which is reason enough to give it a chance.

As I scoured the Capital Fringe listings for 2016, two shows caught my interest. While both RAIN FOLLOWS THE PLOW and ROMANOV both musicalize moments in history and showcase some serious songwriting skills and musicianship, they couldn't be more different from one another stylistically. While there is considerable room for both shows to grow, a future life for both of them is definitely possible due to the strong central concepts, creativity and musical bases.

1st Stage's production is - for me, at least - a very, very welcome addition to the 2015-2016 theatre season. While Guettel's intricate and original score is, quite simply, extraordinary - and reason enough to make the trek to the McLean/Tysons Corner area to hear it sung live - Director Nick Olcott and his talented and committed cast and design team offer other reasons to pay this little gem of a production a visit.

Overall, I look forward to what the future holds for this new musical.

Overall, THE WHO & THE WHAT is a strong way for Round House to end its season.

Forum Theatre, under Dove's artistic direction, has made a wonderful habit of providing local audiences with opportunities to see unique world premieres. This production is yet another strong example, and with Twyford at the center it's must-see theatre. There's absolutely no reason for any seat to remain empty.

The story, Lovett's performance, and the design elements clearly have the power to engage even those most restless children.

it's a shame this production only played the Kennedy Center for two performances, but for the lucky theatergoers that had a chance to see it, it is certainly a memorable one.

Overall, there's a lot of mass appeal in this production, some fun musical moments, and opportunities for the entire family to visit the familiar and well-loved. Unfortunately, it simply pales in comparison to what we have seen before.

A little bit of this and that, a little bit zany and off-kilter, there was something for everyone to enjoy.

Akhtar's script is so beautifully complex yet simple, and asks some hard questions. The performances and physical production elements are first-rate. This is one of the strongest productions I've seen all season, and perhaps in recent years in the Washington, DC area.