Jennifer Perry - Page 8

All in all, I certainly commend Arena Stage, including Artistic Director Molly Smith, for taking a chance on this new work. Unfortunately, there's a ways to go to ready it for an audience, particularly here in DC where there is bound to be at least a handful of people with a pretty good understanding of the subject matter.

Lillian Hellman's 1941 play WATCH ON THE RHINE isn't often produced, but it's certainly a relevant one in today's troubling times. As directed in the round by Jackie Maxwell at Arena Stage, it's probably one of the best examples of a scintillating, well-written script being brought to the stage by a uniformly excellent cast. The end result is a must-see production for the serious theatergoer.

Clare Barron's apocalyptic play BABY SCREAMS MIRACLE is, fundamentally, an interesting and exceptionally written exploration of the forces of religion and of nature on one small town American family dealing with its own kind of inner turmoil. A uniformly strong cast under the direction of Artistic Director Howard Shalwitz brings out the best of the already strong script at Woolly Mammoth Theatre Company.

The material speaks for itself and gives the cast - and especially Nova Y. Payton - a chance to stretch their limits.

it's an engaging and resonant theatrical experience.

In 2016, I saw 120+ productions, the majority of which were in the DC Metro Area. The 2016 calendar year offered a slew of memorable theatergoing experiences, but some stand out among the others. As I look forward to what's in store theatrically in 2017, I take a look back at 2016.

All told, this is a fantastic production and definitely one of my favorites of the 200+ shows I saw in 2016 - whether in the DC Metro Area, New York, or anywhere else.

A MERRY LITTLE CHRISTMAS WITH MEGAN HILTY was one of my favorite cabaret/concert experiences this year. It's always a treat to hear her sing. She's in her own class as a vocalist and I look forward to what she does next.

While those seeking a similarly scaled production to the original Broadway production (or even the revival) might leave the Eisenhower Theatre somewhat disappointed, those open to experiencing a new interpretation of the familiar material might leave feeling they've had an opportunity to look at an old favorite with new eyes. Perhaps they might better appreciate what drew them to the story in the first place.

As presented at Arena Stage, Lookingglass Theatre Company's 'Moby Dick' offers many theatrical surprises that are sure to enthrall nearly any theatergoer looking for something a little different this holiday season.

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.