Originally from Rochester, New York, Sarah Murphy is a recent transplant to the Washington DC area, where she has eagerly dived into the local theatre community. A graduate of The College at Brockport, Sarah holds a Master of Public Administration degree in nonprofit and arts management. Her particular passion is the role theatre can play in examining and addressing issues of social injustice. She previously worked as the Communications Director for a national historic house museum and currently holds a position in higher education administration. Sarah is thrilled to be joining the BroadwayWorld DC team!
The Smuggler, which won the Best Playwright Award at the 1st Irish Festival of New York in January, is a 9000 word rhyme-poem by Irish-American playwright, Ronán Noone. Originally from County Galway and now settled in Boston, Noone brings a journalistic eye to the modern immigrant experience and ruminates on the impossibility of the 'American Dream'.BWW Review: TREASURE ISLAND at Synetic Theater July 24, 2019
Is there a more over-done piece than Shakespeare's Romeo and Juliet? Enter author Rachel Garnet. Garnet's Starcrossed: The Tragedy of Mercutio and Tybalt turns the familiar tale on its head.BWW Review: AIR MAIL / PAR AVION at Capital Fringe July 17, 2019
Part of the adventure of any Fringe show is how best to utilize a space that was not necessarily built as a performance venue and there are plenty of approaches to creating an immersive experience for your audience. One of my personal favorites is live music. In Air Mail / Par Avion, the mood for this devised musical is immediately set as you enter the space to the sounds of a jam session. The five-person band clearly enjoys playing together and their fun is infectious.BWW Review: PASSING at Capital Fringe July 16, 2019
Some events in history are too large in scope for us to properly grasp and process them. It is in small, personal stories that we are able to gain a greater understanding of just what has occurred and how it may echo through time. Time and time again, we return to the individual narratives, the threads that make up the unfathomable, to anchor us.BWW Review: BODY. at Capital Fringe July 16, 2019
Body. is the kind of kinetic theatre experience that Fringe was created to showcase. An ensemble of eight using movement and spoken word to encounter all of the things we don't want to talk about: body image, gender, race, toxic masculinity, the menstrual cycle, masturbation...BWW Review: REWIRING EDEN at Capital Fringe Festival July 15, 2019
Inspired by Common's 1994 'I Used to Love H.E.R.', director and playwright Goldie E. Patrick has brought together a dynamic cast of five to tell the story of the role of women in Hip Hop. What unfolds is a love letter to HER and to all women who have shaped and influenced Hip Hop.BWW Review: RICHARD III at Synetic Theater May 20, 2019
Carson McCullers' The Member of the Wedding centers around several steamy post-World War II Southern days as seen through the eyes of twelve-year-old Frankie Addams. Frankie, or F. Jasmine as she requests we call her, is on the cusp...of what she does not know.BWW Review: BECKETT TRIO, PART 2 at Scena Theatre April 12, 2019
Even if you're not familiar with George Bernard Shaw's Pygmalion, you're most likely familiar with Lerner and Loewe's adaption, My Fair Lady. At the core of both is the classic question of how much can we really change our stripes? Tearrance Arvelle Chisholm gives us a modern take here with his world premiere of P.Y.G. or The Mis-Edumacation of Dorian Belle.BWW Review: SILENT at Solas Nua March 8, 2019
There's "beauty in the dark" Tino McGoldrig tells us and in 'Silent' that darkness has many, many layers. You see, Tino (named after silent film icon Rudolph Valentino) "once had splendid things", but has lost it all...BWW Review: VANITY FAIR at Shakespeare Theatre Company March 5, 2019
Mean Girls, Big Little Lies, Heathers, Broad City, Thelma and Louise, Parks and Recreation, Sex and the City…These are some of the better known vehicles for female friendship that inhabit our pop culture universe. Paling in comparison to the numerous portrayals of male friendships and "bromances", too often these relationships center on competition or jealousy, on getting the guy. Very few take a deeper, more comprehensive dive into the complexity of female companionship. Even fewer are the product of female authors, directors, playwrights, etc.BWW Feature: SILENT at Solas Nua February 26, 2019
Tino, short for Valentino (as in Rudolph), 'once had splendid things', but has lost it all and is now living on the streets of Dublin. Taking inspiration from the historical Valentino, Kinevane brings us into an intimate world of love and loss, of regret and of hope.BWW Review: REYKJAVIK at Rorschach Theatre February 13, 2019
You may be forgiven if the phrase 'romantic getaway' doesn't immediately inspire images of Iceland and, though it features several couples, Steve Yockey's 'Reykjavik' is unlikely to change your mind. What it will do is give a momentary, and at times uncomfortably intimate, glimpse into the relationships of these couples as paths intersect and unwind in the titular city. It is a haunting and disorienting ride you won't want to miss.BWW Review: CYRANO DE BERGERAC at Synetic Theater February 10, 2019
An artistic genius and his muse...a dancing cat...Pontius Pilate...No, this is not the latest Andrew Lloyd Webber revue. It is the wonderful and completely weird world of Mikhail Bulgakov's The Master and Margarita (adapted by Edward Kemp).BWW Review: SUBMISSION at Scena Theatre January 22, 2019
DC's Scene Theatre presents the US premiere adaption of French author Michel Houellebecq's controversial novel 'Submission'. Through the lens of middle-aged academic, Francois, Houellebecq masterfully interweaves real-life and fantasy, imagining a political showdown between far-right National Front leader Marine Le Pen and the fictitious Mohammad Ben Abbes, leader of the Muslim Brotherhood.BWW Review: AMERICAN MOOR at Anacostia Playhouse January 18, 2019
AMERICAN MOOR is an intimate portrait of an artist and a cry of grief for the boundaries we impose upon our artistic lives. Using the role of 'Othello' as both an anchor and a jumping off point, Keith Hamilton Cobb skillfully takes the audience through a deeply personal examination of race and privilege in the theatre.