For more than 60 years, Athol Fugard has helped us explore South Africa through his complex, flawed, and empathetic characters. He is one of the most significant voices of our time. Fugard's most recent work, The Painted Rocks at Revolver Creek, makes its DC-area premiere at MetroStage. When Producing Artistic Director Carolyn Griffin slated The Painted Rocks at Revolver Creek as MetroStage's season opener, little did she know that an August tweet would thrust South African farm ownership and race relations firmly back into the world spotlight.
If, like me, you missed Mosaic Theater Company's HOODED, OR BEING BLACK FOR DUMMIES last season, here's your second chance: a remount, featuring almost all of the original cast, has arrived by popular demand. As timely as ever, it uses elements of realism, surrealism, and Greek mythology to convey what it's like to be a young black man in America at this very moment. I've called plays from Mosaic "essential viewing" before, and that description certainly applies here.
As directed by Alex Levy, THE FARNSWORTH INVENTION is theatrically inventive and mostly compelling recounting of of Farnsworth and Sarnoff's parallel stories. The production is also performed by a skillful company of actors who take the audience on this little known historical journey.
In his return to playwriting, celebrated film and television writer Aaron Sorkin's signature style lends itself to the remarkable story of the invention that changed our lives. In 1929, two ambitious visionaries race against each other to invent a device called "television." Separated by two thousand miles, each knows that if he stops working, even for a moment, the other will gain the edge. Who will unlock the key to the greatest innovation of the 20th century: the ruthless media mogul, or the selftaught Idaho farm boy? The answer comes to compelling life in the regional premiere of this "firecracker of a play" (The Chicago Sun-Times).
In his return to playwriting, celebrated film and television writer Aaron Sorkin's signature style lends itself to the remarkable story of the invention that changed our lives. In 1929, two ambitious visionaries race against each other to invent a device called "television."
Ally Theatre Company opens their Second Season with the World Premiere of Rabbit Summer by Tracey Conyer Lee, presented January 12-28 2018 at Joe's Movement Emporium as part of the Women's Voices Theatre Festival.
Ally Theatre Company opens their Second Season with the World Premiere of Rabbit Summer by Tracey Conyer Lee, presented January 12-28 2018 at Joe's Movement Emporium as part of the Women's Voices Theatre Festival.
National New Play Network, the country's alliance of nonprofit theaters that champions the development, production, and continued life of new plays, will co-present the 12th annual MFA Playwright's Workshop (MFAPW) in association with the Kennedy Center American College Theater Festival and Stanford University's National Center for New Plays.
National New Play Network, the country's alliance of nonprofit theaters that champions the development, production, and continued life of new plays, will co-present the 12th annual MFA Playwright's Workshop (MFAPW) in association with the Kennedy Center American College Theater Festival and Stanford University's National Center for New Plays.
Bringing its 10th Anniversary Season to an epic conclusion, Constellation Theatre Company will present The Arabian Nights by Mary Zimmerman, directed by Allison Arkell Stockman from May 4 - June 4 at Source, 1835 14th Street NW, Washington, DC.
Tearrance Arvelle Chisholm's new play Hooded, or Being Black for Dummies, receiving its world premiere with Mosaic Theatre Company, examines the dangers of identity, prejudice and identity politics from a variety of angles. This is an unforgettable, complex study in identity that for all of its tricks and turns is one of the more psychologically, spiritually rich plays you are likely to see on the stage.
Hooded, Or Being Black for Dummies, a World Premiere by Tearrance Arvelle Chisholm, will be directed by Serge Seiden (When January Feels Like Summer, Bad Jews) and associate directed by Vaughn Ryan Midder for Mosaic Theater Company of DC. Performances will run at the Atlas Performing Arts Center, Sprenger Theatre, January 25-February 19, 2017.
Hooded, Or Being Black for Dummies, a World Premiere by Tearrance Arvelle Chisholm, will be directed by Serge Seiden (When January Feels Like Summer, Bad Jews) and associate directed by Vaughn Ryan Midder for Mosaic Theater Company of DC. Performances will run at the Atlas Performing Arts Center, Sprenger Theatre, January 25-February 19, 2017. BroadwayWorld has a sneak peek at the stars in character below!
Hooded, Or Being Black for Dummies, a World Premiere by Tearrance Arvelle Chisholm, will be directed by Serge Seiden (When January Feels Like Summer, Bad Jews) and associate directed by Vaughn Ryan Midder for Mosaic Theater Company of DC. Performances will run at the Atlas Performing Arts Center, Sprenger Theatre, January 25-February 19, 2017. BroadwayWorld has a sneak peek at the stars in character below!
Hot on the heels of the record-breaking, critically hailed Satchmo at the Waldorf, Mosaic Theater Company of DC's Season Two continues with Kirsten Greenidge's riotous, Obie Award-winning MILK LIKE SUGAR (November 2 - 27, 2016), under the direction of Mosaic Theater's Jennifer L. Nelson (The Gospel of Lovingkindness). The play, Mosaic's second DC premiere this season, is a rousing story about young women coming of age in a time when issues of acceptance, mentorship, and materialism challenge the dreams and ambitious of so many teens. It is the first of three plays in Mosaic's 2016-17 season to highlight issues affecting young urban teens and millennials, to be followed by the DC premiere of Philip Dawkins' intergenerational LGBTQ comedy Charm, and the world premiere of Tearrance Arvelle Chisholm's Hooded: Or Being Black for Dummies.
Hot on the heels of the record-breaking, critically hailed Satchmo at the Waldorf, Mosaic Theater Company of DC's Season Two continues with Kirsten Greenidge's riotous, Obie Award-winning MILK LIKE SUGAR (November 2 - 27, 2016), under the direction of Mosaic Theater's Jennifer L. Nelson (The Gospel of Lovingkindness). The play, Mosaic's second DC premiere this season, is a rousing story about young women coming of age in a time when issues of acceptance, mentorship, and materialism challenge the dreams and ambitious of so many teens. It is the first of three plays in Mosaic's 2016-17 season to highlight issues affecting young urban teens and millennials, to be followed by the DC premiere of Philip Dawkins' intergenerational LGBTQ comedy Charm, and the world premiere of Tearrance Arvelle Chisholm's Hooded: Or Being Black for Dummies.
Today's subject is living his theatre life to the fullest. Ari Roth might be one of the most passionate and outspoken figures working in DC theatre. One thing is clear, he follows his passion and the result is always something extraordinary.
Hot on the heels of the record-breaking, critically hailed Satchmo at the Waldorf, Mosaic Theater Company of DC's Season Two continues with Kirsten Greenidge's riotous, Obie Award-winning MILK LIKE SUGAR (November 2 - 27, 2016), under the direction of Mosaic Theater's Jennifer L. Nelson (The Gospel of Lovingkindness).
Hot on the heels of the record-breaking, critically hailed Satchmo at the Waldorf, Mosaic Theater Company of DC's Season Two continues with Kirsten Greenidge's riotous, Obie Award-winning MILK LIKE SUGAR (November 2 - 27, 2016), under the direction of Mosaic Theater's Jennifer L. Nelson (The Gospel of Lovingkindness). The play, Mosaic's second DC premiere this season, is a rousing story about young women coming of age in a time when issues of acceptance, mentorship, and materialism challenge the dreams and ambitious of so many teens. It is the first of three plays in Mosaic's 2016-17 season to highlight issues affecting young urban teens and millennials, to be followed by the DC premiere of Philip Dawkins' intergenerational LGBTQ comedy Charm, and the world premiere of Tearrance Arvelle Chisholm's Hooded: Or Being Black for Dummies.
.jpg?format=auto&width=365)
