Constellation Theater Company’s Metamorphoses is flat-out brilliant, knock-your-socks-off theater, from script to setting to lights and costumes to actors who speak and move with perfection.
The St. Mark’s Players cast does full justice to some of the best duet and ensemble music of the last few decades on Broadway, in a thoroughly satisfying production of Simon and Norman’s 1991 musical version of the classic children’s story, The Secret Garden.
People who enjoy tuning into the exploits of Miss Marple or Hercule Poirot on the PBS Mystery series will enjoy Little Theater of Alexandria’s take on Agatha Christie’s Witness for the Prosecution.
It is refreshing to see a human-scale, handcrafted show that touches all the musical, theatrical, and emotional bases one needs for a sweet evening of entertainment, like Vienna Theater Company’s production of The Fantasticks.
For lack of consistently strong acting, Silver Spring Stage’s production never weaves the enchantment the script contemplates.
In Arena Stage’s powerful production of Eugene O’Neill’s Long Day’s Journey Into Night, the words sing and the emotions sear.
Frequent asides are the trademark of this play, as O’Neill voices the thoughts of his characters on the fly, in the midst of their lives.
Rockville Little Theater’s production of Byrony Lavery’s Frozen provides rich opportunities for thinking and talking about justice, responsibility, remorse and forgiveness, and recovering from the most terrible blows life has to offer.
Riverside Dinner Theater in Stafford, Virginia, provides a faithful, competent, and often polished reproduction of the 1998 Broadway revival of the Kander and Ebb musical, Cabaret, a show that has always had moments of greatness along with noteworthy flaws.
The jazzmen of Warren Leight’s 1999 Tony-winning play, Side Man, have come to see themselves as the last, dying remnant of a music to which their lives have been passionately, even obsessively, committed.