it's an engaging and resonant theatrical experience.

For theatre lovers in our area, we always look forward to what our theatre companies have in store for us in their upcoming seasons. We look to see if there are any trends that stand out to us as audience members. We also see growth in many companies with each new season of shows. Anyone that's been following DC theatre for a while will notice how things have changed in the last twenty or thirty years. One of the biggest examples of this would be the clean up and revitalization of 14th Street, which had direct implications for Studio Theatre and Source.

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.

Langston Hughes' "Gospel Song-Play" chronicles and celebrates the birth of Jesus and the unique cultural identity and heritage of Black Americans. This joyous musical compels us to look inward and find the wonder in life. This performance is recommended for audiences of all ages.

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.

The plot of A VIEW FROM THE BRIDGE is straightforward, and the source material by Arthur Miller is pretty good, but the spectacular staging of this classic work at the Kennedy Center elevates what could have been a fairly pedestrian family drama to atmospheric heights. The very definition of 'catharsis', this spellbinding production stuns with stripped-down, potent emotion.

There's something about a classic, standard musical that tugs at the heartstrings. Maybe it's the the swelling orchestra, the time-honored songs, or the amazement that an old love story can feel new again. Under the direction of Molly Smith at Arena Stage, Rodgers and Hammerstein's CAROUSEL is all of the above.

In October of 1998 Matthew Shepard, a twenty-one-year-old University student was kidnapped, beaten, and left to die on a fence on the outskirts of Laramie, Wyoming. The reason for his killing: he was gay. One of the first murders to be labeled a hate crime, it brought attention the lack of 'hate crime protection' several states possessed. Five weeks after his death, Moises Kaufman and other members of the Tectonic Theater Project traveled to Laramie and interviewed its citizens for a whole year after the event. This is the true story of how residents in Laramie, Wyoming reacted to the murder of Matthew Shepard.

Natsu Onoda Power is one of the most creative forces in DC theatre. With such credits as Yellow Face at Theater J and Astro Boy and the God of Comics at Studio Theatre, Power's productions are always visually stunning and very clear in the way she tells a story. This review starts as it does because I want it to be perfectly clear that I am a big admirer of Power's work upfront. Unfortunately, her latest endeavor goes against everything I just said.

43 1/2: THE GREATEST DEATHS OF SHAKESPEARE'S TRAGEDIES, a 2013 Capital Fringe favorite from Nu Sass, is back again with its enthusiastic original cast for a third run. Sun King Davis directs the zany, bloody production, with a new batch of gruesome fight scenes thrown in to keep things fresh.

An epidemic of senseless gun violence and police brutality is sweeping through the United States. Trayvon Martin and Freddie Grey are two of the more famous examples of this. Award winning actress, choreographer, and writer Debbie Allen takes a no holds barred look at this all too hot topic in her theatrical/dance/ multimedia extravaganza Freeze Frame...Stop the Madness. I always knew that Debbie Allen was a force of nature as an actress in any show she's in and this show is no exception. She plays a few roles, but is also the director, choreographer, and writer. This is one of the first times I have actually seen that working scenario prove successful as one person usually can't do it all.

The performance will take place on October 29th at 4pm at The Clarice Smith Performing Arts Center. It will feature narration by Host and Moderator of WETA's Around Town and SiriusXM's Symphony Hall, Robert Aubry Davis, as well as 120 students from across the DC-Metro area who comprise the Young Artists of America Orchestra and Vocal Ensemble.

Director Gaye Taylor Upchurch makes her Arena Stage debut working with Kathleen Turner (MOTHER COURAGE AND HER CHILDREN, MOLLY IVINS) in the play adaptation of Joan Didion's memoir THE YEAR OF MAGICAL THINKING. Upchurch talked with Broadway World's Jeffrey Walker about directing the play, working with Turner, and the power of the witty and honest look at grief.

Spooky Action Theater opens its season with a cutting-edge play that covers politics, celebrity, and the nature of genius. RAMEAU'S NEPHEW, adapted from an 18th century work by Denis Diderot, is hardly new, but this 2016 incarnation is as timely and amusing as can be. Director Richard Henrich delivers a production with flashes of outright brilliance that compensate for a few (non-fatal) flaws.

Put your hands in the air and wave them up high; it's time to talk about (say it with me!) All the Way Live! The Kennedy Center and B-Fly Entertainment co-commissioned this high-energy and well-crafted show and I can truly say it is a match made in hip-hop heaven.

Melding all forms of the arts into a cohesive program is never an easy task. Former New York City Ballet dancer Damian Woetzel is trying to do this with a series called Demo, which brings artists from the worlds of theatre, dance and opera together on one stage.

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.

Lillian Hellman's THE LITTLE FOXES comes to Arena Stage at an uncannily resonant time. Amidst the opulent Victorian decor and genteel Southern manners there is, at its dark heart, a family that will do anything to maintain its status and a small town that will suffer for it. Now, more than ever, this show with its immensely talented cast needs to be seen.