Rachael F. Goldberg - Page 5

Quotidian Theatre Company's presentation of 'The Mollusc' is delightful, emotional, and fun.

The Second City, known for both its poignant comedy and its incredible alumni list, knows it's difficult to wrap your mind around the world we live in today, let alone navigate it. Their latest residency at The Kennedy Center, aptly titled 'America; It's Complicated!', is the perfect response. Smartly written, deftly performed, 'America; It's Complicated!' somehow manages to both alleviate the stress of living in America today while also providing insightful commentary on it.

Perhaps it's the lofty, Shakespearean-style introduction, the outsized musical selection ("Flight of the Valkyrie" is used more than once), or the references to one of the most devastating dictatorships in modern history, but 'The Resistible Rise of Arturo Ui' sets impossibly high expectations for itself and promptly fails to come even fractionally close to those expectations. But, even putting those comparisons aside, the production falls disappointingly flat.

Playwright Evan Linder achieves a fascinating balance in the poignant 'Byhalia, Missississippi.' While it's hard to fully root for any character, it's equally difficult to dismiss them completely, and that balance allows the show to explore deep, often difficult themes head-on.

Michael Kahn's final production at Shakespeare Theatre Company deeply understands the underlying questions and humanity of the tale, and draws out an emotional, sympathetic performance that rings with a relevance to our lives today. Under his direction, 'The Oresteia' is not just insight to our shared history, but also into the world we want to build.

Arena Stage's production of 'Junk' marks the Washington, DC area premiere of the critically acclaimed play, and, happily, Arena's production is more than up to the task of living up to the show's reputation.

Despite its dated premise and overstuffed ensemble, Mariinsky Ballet's 'Le Corsaire' provides a delightful evening with some truly inspiring dance. It may not be the most enlightened production, but it's certainly an entertaining one.

'Native Son' is a heavy drama with an important story to tell. But what makes this production really shine is Psalmayene 24's guiding emphasis on "radicalizing empathy." In Mosaic Theater Company's production, the audience isn't asked to excuse Bigger, but to try to understand him. That understanding, that empathy, it's suggested, can go a long way in ensuring that the circumstances surrounding Bigger's story can maybe be kept in the past.

'Dora: Tramontane' may be the first of a trilogy, but it has the power to stand on its own as well as part of a set. The work is breathtaking and emotional, and - like any good piece of art - stays with you long after the final bows. If the rest of the 'Analogy Trilogy' is even half as good, it's well worth getting to the Kennedy Center this weekend.

In Washington, DC, the simulcast premiere of 'Dreamers' was featured as part of the Dreamers Project, a series of programs and events centered around the contributions and experiences of Latinx immigrants, highlighting art, literature, and policy discussions. Nationally, this performance served as a kick-off point for a series of performances that will take place across the country in the coming year.

Steven Carpenter is the director of Washington Stage Guild's latest production, 'Resolving Hedda,' a twist in the Isben classic, 'Hedda Gabler.' 'Resolving Hedda' is playing at the Washington Stage Guild through April 14th.

If the cultural and historical relevance weren't enough incentive, Theater J's production of 'The Jewish Queen Lear' will make you glad for the current revitalization of Yiddish theater. The play is an emotional journey, with insights into family, power, pride, and love. 'Mirele Efros' is a surprisingly modern play, and 'The Jewish Queen Lear' honors both the past and present in its performance. It's a touching story, a wonderful cast of characters (in both senses of the phrase), and a beautiful production.

'JQA' is an ambitious, delightful work that not only makes for an enjoyable theater experience, but also leaves its audiences ruminating on the deeper philosophies it explores. The strong cast and clever production designs are worth the trip alone, but the overall result is something that will linger in minds long after the lights have lifted, much like any presidential legacy.

4615 Theatre Company's 'Separate Rooms' is a great display of how love and loss can affect a group of people - it balances the raw emotions of the moment with the very human need to push on. Despite some story arc issues, it is a touching, intimate, and funny insight into humanity.

Frank X is making his Theater J debut as Shalmen in the upcoming production of 'The Jewish Queen Lear' (also known as 'Mirele Efros'), which runs at Georgetown University's Davis Performing Arts Center in the Gonda Theatre from March 13th through April 7th.

Jessica Stone is the director of Shakespeare Theatre Company's upcoming production of Vanity Fair, adapted by playwright Kate Hamill from the novel by William Makepeace Thackeray. Stone has worked as an actress on and off-Broadway, in television and in film for the last 30 years, and has been directing for the last decade.

Perhaps the biggest problem with 'The Heiress' is that it's difficult to invest in. It's hard to root for Catherine beyond hoping she tells Morris off, and that's more about dislike of him than support for her. After all, we can all get behind telling off a bad ex. It's just a shame that The Heiress doesn't give us the opportunity to go deeper than that.

The National Ballet of China's performance of 'Raise the Red Lantern' is stunning, moving, and heartbreaking.

'Shame 2.0' is a workshop with tremendous potential and interesting stories to tell. It's a complicated show about a complicated issue, but it also brings out universal themes that transcend race, nationality, and political ideologies. It's certainly worth seeing, and, with time, will sharpen into a powerful piece of art.

Robert Richmond is the director of Folger Theatre's upcoming production of Nell Gwynn. Richmond has directed a number of productions for Folger Theatre in DC and served as the Associate Artistic Director of the Aquilla Company in New York City. He currently is the Department Chair and Artistic Director of the University of South Carolina Department of Theatre and Dance.