The Theatre Group At SBCC Presents TREASURE ISLAND February 28-March 16
by A.A. Cristi
- Jan 31, 2024
The Theatre Group at SBCC presents TREASURE ISLAND, a thrilling adventure adapted from Robert Louis Stevenson's classic tale. Join Jim on a dangerous voyage filled with buried treasure, pirates, and theatrical magic. Don't miss this exhilarating experience at the Garvin Theatre from February 28-March 16, 2024.
Review: Lots To Like In ChesShakes Production of Shakespeare's AS YOU LIKE IT
by Cybele Pomeroy
- Oct 10, 2023
Chesapeake Shakespeare Company ensemble performers are quick on their feet, perfect in their enunciation, energetic and expressive as they deliver Shakespearean favorite plot elements of upper class people in forests, merriment, witty banter, love triangles, and everyone getting married. The action is fast-paced, the set stunning and immersive.
High Concept Labs & Monira Foundation Presents Maggie Bridger | SCALE
by Stephi Wild
- Apr 13, 2023
High Concept Labs (HCL), a Chicago-based arts service organization and artist incubator, is pleased to premiere Scale, a dance work directed, choreographed and performed by HCL 2023 Fellow Artist in Residence, Maggie Bridger with the support of Monira Foundation.
Review: MUCH ADO ABOUT NOTHING at Chesapeake Shakespeare Company
by Tina Collins
- Jul 15, 2022
A multi-talented cast in a unique, romantic setting makes for a lovely summer evening. Shakespeare's MUCH ADO ABOUT NOTHING is the progenitor of the modern rom-com. Maybe this is why it has been placed in so many different eras of civilization from its original Renaissance setting to Edwardian England to the Roaring Twenties to its present incarnation in Post-World War II France. No matter where it travels, audiences will recognize the bickering protagonists, gossipy friends, meddling family, village buffoons, and broad comedy with a touch of tragedy.
Review: World War Two MUCH ADO? Who Knew?
by Jack L. B. Gohn
- Jun 23, 2022
What did out critic think? The essential attribute of the play, the combative romance of Benedick and Beatrice (Dylan Arredondo and Anna DiGiovanni), is the only truly sacred element of the play. Dylan Arredondo and Anna DiGiovanni, give these principals a full-throated presentation, Arredondo leaning heavily on physical comedy and DiGiovanni on the more cerebral element. In the end, their predicament is that in their merry combat each of them has painted themself into a corner; they need to become lovers but for all their formidable brains neither can do it without the help of friends and a development in the subplot that gives them an excuse to reset their relationship. This problem gives them a delicate palette of emotions to evince: scornful derisiveness, hesitancy, hypocrisy, passion, rueful candor. Arredondo and DiGiovanni serve these changes up charmingly.
La Chapelle Scènes Contemporaines Unveils 2022-2023 Season
by A.A. Cristi
- Jun 16, 2022
La Chapelle Scènes Contemporaines unveils today its entire 2022-2023 season. As usual, this 32nd season will be faithful to its mandate, open to hybrid and transversal forms by offering a panoramic vision of creation, in all its diversity:
BWW Review: MY CHILDREN, MY AFRICA at Washington Stage Guild
by Timothy Treanor
- Nov 15, 2021
It is, of course, mere coincidence that former South African State President F.W. de Clerk died only three days before Athol Fugard’s My Children! My Africa! opened at Washington Stage Guild, but it sets a mood. de Clerk was the last President of apartheid-afflicted South Africa; he led the government’s sometimes acrimonious negotiations with Nelson Mandela to bring democracy to that benighted country, for which they shared a Nobel Prize.
Washington Stage Guild to Return to the Stage With MY CHILDREN! MY AFRICA!
by Chloe Rabinowitz
- Oct 22, 2021
The Washington Stage Guild will return to the stage with a masterwork by one of the modern theatre’s most important figures: My Children! My Africa!, the great South African playwright Athol Fugard’s meditation on education and its role in the struggle for justice, along with its sad limits in a culture of oppression and bigotry.
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