When you combine Bettis' exceptionally well-written and insightful script with some of the most powerful acting you're likely to see on a DC stage this season, and some excellent direction by Jose Zayas, you have a must-see theatrical production.
Philadelphia Theatre Company follows The Bridges of Madison County with the Philadelphia premiere of a new work from Christina Anderson. In a co-production with Baltimore Center Stage, PTC introduces local audiences to the talents of rising star Christina Anderson and her stunning new play How To Catch Creation, Philadelphia Theatre Company's pick from the 2017 Kilroys List. The 'List' was created to give theatre producers a choice of underproduced works by women, with a recent focus on trans, and non-binary writers. Producing Artistic Director Paige Price has tapped Nataki Garrett, former Associate Artistic Director of Denver Center for the Performing Arts Theater Company (DCPA), to direct this production. How To Catch Creation features a cast of local talent and actors with an impressive range of Netflix, television, and regional theatre credits. The play runs March 22-April 14, with Opening Night on Wednesday, March 27 at 7 p.m. Single tickets and subscriptions are on sale now and available at the box office, online at philatheatreco.org or by phone at 215-985-0420. Tickets cost $10-$69.
THE HEIRESS is playing at Arena Stage in Washington, DC through March 10, 2019. Finding one's voice is never easy. Socially awkward and plain Catherine Sloper has struggled her entire life under the disapproving and resentful gaze of her father. It is the unexpected visit from a suitor full of sincerity and instantaneous devotion that awakens Catherine's long abandoned hopes of true love and the opportunity for a fresh start. A devastating betrayal forces the scorned Catherine to learn how to roar, realize her truth and take control of her destiny.
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.
Arena Stage presents Ruth and Augustus Goetz's melodrama, The Heiress, suggested by the Henry James novel, Washington Square. After growing up subjected to her father's disinterest and strong resentment, a young woman in the 1850s discovers what love is in her journey towards independence, growth and strength, without an impactful female role model in her life. Directed by Deputy Artistic Director Seema Sueko, The Heiress runs February 8 - March 10, 2019 in the Fichandler Stage.
Arena Stage at the Mead Center for American Theater announces the full company for Ruth and Augustus Goetz's melodrama, The Heiress, suggested by the Henry James novel, Washington Square. After growing up subjected to her father's disinterest and strong resentment, a young woman in the 1850s discovers what love is in her journey towards independence, growth and strength, without an impactful female role model in her life. Directed by Deputy Artistic Director Seema Sueko, The Heiress runs February 8 - March 10, 2019 in the Fichandler Stage.
Arena Stage at the Mead Center for American Theater announces the full company for Ruth and Augustus Goetz's melodrama, The Heiress, suggested by the Henry James novel, Washington Square. After growing up subjected to her father's disinterest and strong resentment, a young woman in the 1850s discovers what love is in her journey towards independence, growth and strength, without an impactful female role model in her life. Directed by Deputy Artistic Director Seema Sueko, The Heiress runs February 8 - March 10, 2019 in the Fichandler Stage.
GU Theater & Performance Studies Program presents World Premiere of a new English translation of gripping, timely 'Our Class' by Tadeusz Slobodzianek, directed by Prof. Derek Goldman In residence at Georgetown, DC-based playwright Norman Allen developed this adaptation of the play, based on true events in Poland
The story of Cinderella has been presented in many forms throughout the history of entertainment. Each has enchanted audiences of all ages. There was the classic Disney cartoon, the Rodgers and Hammerstein television adaptation that has since become a stage musical, a few television remakes, and the famed London pantomimes. No matter which version of the story you've seen, there is something about a common girl's quest for true love that gets us every time.
GU Theater & Performance Studies Program presents World Premiere of a new English translation of gripping, timely 'Our Class' by Tadeusz Slobodzianek, directed by Prof. Derek Goldman In residence at Georgetown, DC-based playwright Norman Allen developed this adaptation of the play, based on true events in Poland
What was it like 21 years ago when Paula Vogel's 'How I Learned to Drive' premiered off-Broadway?
GU Theater & Performance Studies Program presents World Premiere of a new English translation of gripping, timely 'Our Class' by Tadeusz Slobodzianek, directed by Prof. Derek Goldman In residence at Georgetown, DC-based playwright Norman Allen developed this adaptation of the play, based on true events in Poland
Round House Theatre announces casting for the five mainstage shows that will comprise its 41st season. "Our 2018-2019 Season launches our exciting Resident Artist program, and once again confirms our longstanding value to prioritize the use of local artists, with more than 90% of our artists hailing from the DC area," says Artistic Director Ryan Rilette. "We're thrilled to pair the best DC artists with some of the most exciting new plays and modern classics in American theatre. It's a season you won't want to miss."
The final production of Mosaic Theater Company of DC's third season will be the world premiere staging of The Vagrant Trilogy, written by Mona Mansour and directed by Mark Wing-Davey. The Vagrant Trilogy is comprised of three different one-act plays: The Hour of Feeling, The Vagrant, and Urge for Going. These three plays, combined for the first time in one epic performance, follows Palestinian scholar Adham and his family over multiple generations and in multiple continents.
Artistic Director Ryan Rilette and Managing Director Ed Zakreski are thrilled to announce the five mainstage shows that will comprise Round House Theatre's 41st Season. This announcement comes on the heels of the launch of 'Full Circle,' a capital campaign that will expand the company's artistic and education programming, as well as make significant upgrades to the interior performance and public spaces at the company's theatre in Bethesda, Md.
Everyman's Artistic Director Vincent M. Lancisi directs this so-production with the Olney Theatre Cednter.
When words fail, a home-cooked meal transcends differences in Aubergine-a heartfelt story of food, family and memory from playwright Julia Cho, receiving its Mid-Atlantic premiere at Everyman Theatre, March 14 through April 15, 2018. Directed by Everyman Theatre Founding Artistic Director Vincent M. Lancisi and produced in association with Olney Theatre Center, Aubergine is a mouthwatering meditation on the beauty of life where hope is no mere ingredient-it's the main course.
Arena Stage at the Mead Center for American Theater announces the full company for August Wilson's quintessential epic drama Two Trains Running. Confronted with a rapidly changing world in the wake of the death of Dr. Martin Luther King, Jr. and the looming demolition of Memphis Lee's diner, Memphis and his regular customers struggle to maintain their solidarity and sense of pride.
'We believe in the power collaboration, between artists and with the audience' - These words are the mantra of dog & pony dc, and do they deliver. Their latest offering, Peepshow, is the ultimate in audience interaction. Before you enter the theater, or rather the Rehearsal Hall at Woolly Mammoth, you are greeted to a window dresser who is dressing up mannequins in the window.
As a nation, we owe it to ourselves to ponder how men who advocated for liberty could also advocate for slavery. It is a question for serious discussion, not just the cursory glances provided by Jefferson's Garden.
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