Headed by director Kerri Rambow, the production serves the play astutely, honoring its necessary moments of humor, sadness, tension, and lacerating truth.
Fringe is going all out, celebrating its 8th anniversary as the highlight of the DC summer season. This year’s theme, spinning cardboard into gold, is the quintessential illustration of the Fringe experience.
The Hampton Years is smart and ambitious, a script full of promise. However, in its current format and production, The Hampton Years felt more like a class about art than a piece of art about academia.
This exquisitely complex production is what theatre should be: Spectacle that also tells a story and conveys a sense of wonder.
Bravo to the cast and crew in general for a performance well done, in spite of the sound’s considerable flaws.
Constellation’s Gilgamesh provides a colorful and active presentation of the outline of this hero’s journey that is well worth watching.
Overall, the energy and veracity of the cast as they showcased their wide range of talents and passions makes the Folger Theatre’s Twelfth Night a show worth seeing.
Faction of Fools’ production of The Lady Becomes Him is an enjoyable frolic through 17th-century Naples, peopled by a group of fun-loving actors.
Other Desert Cities is a good, rather than a great, script, and the success of a production rests largely with the quality of the acting. Arena’s production scores high in this respect.
The play is not a military history lesson; as Dead Wallenstein says to begin the show, “Forget the 30 Years’ War.” The conflict that matters is in the minds of the characters.