Jennifer Perry - Page 8

Bottom line? While there is nothing particularly new, original, or different about her story - and to be clear, that's what I usually look for in a solo show about one's own life - it is performed competently and likely to resonate with many audience members.

This one may not be quite ready for prime time, but the ambitious work has a few things going for it that would suggest there's promise in developing it further.

Do yourself a favor and check this one out.

Missteps aside, it's good to see Keegan back in action, and I look forward to what it offers next at their lovely intimate theatre space.

Bottom line? If you have an opportunity to check out one of the four remaining performances at Wolf Trap this weekend, it is worthwhile to do so.

It's an old-fashioned musical comedy - but not.

Every June, curious Washington, DC area theatregoers can experience the work of emerging local and national playwrights at the Source Festival, organized by CulturalDC. Divided into three themes - this year it's Mistakes and Media, Love and Botany, and Science and Soulmates - the festival comprises 3 full-length plays, 18 ten-minute plays, and 3 artistic blind dates that each relate to one of the themes. Local playwright Timothy Guillot's The Word and the Wasteland, presented as the centerpiece of 'Mistakes and Media,' is but one of the full-length plays offered this year. It is a solid example of the kind of challenging work the festival offers and is definitely worthy of an audience and, potentially, a future life with some refinement.

Featuring direction by Meredith McDonough, the Round House production brings out the best of Lucy Kirkwood's provocative play.

One of the fabulous things about living in the Washington, DC Metro Area is that opportunities to see theatre - and good theatre at that - exist throughout the year. The summer is no exception.

Historian Andrew Carroll's endeavor to turn his best-selling collections of wartime letters into a theatrical piece proves to be a most satisfying theatrical experience for audiences.

Overall, there's much to like about this production. The acting alone is worth the ticket price.

Director John Benitz, who has been with the show since making its world premiere at Chapman University where he teaches, graciously answered a few questions over email about the project, and how it came to the Kennedy Center, what draws him to the material, and what experience the show will offer to Kennedy Center audiences.

Whether one was looking for original tunes by the artists and those closest to them, covers of popular country or R&B music, or songs they performed on the television series, the DC stop of the nine-city concert tour offered a little bit of everything.

Factory 449's Washington, DC premiere of Radha Bharadwaj's CLOSET LAND is, in many ways, the kind of theatre that truly excites me.

With so many Sondheim revues, this begs the question of whether there is room or a need for yet another one. With SIMPLY SONDHEIM, Signature Theatre makes a strong case for an affirmative answer to that question.

At Woolly Mammoth Theatre Company, strong direction by Company Member Michael John Garces and tour-de-force acting performances from all three cast members bring out the best of Beckim's tightly written script.

A local theatre educator, Kevin Kuchar of the Act Two @ Levine Program, has been nominated for the inaugural Excellence in Theatre Education Award, presented by Carnegie Mellon University and the Tony Awards. We talk to some of his current and former students about why they nominated their teacher.

I could probably write a one sentence review of Audra McDonald's concert at Bethesda's magnificent Music Center at Strathmore that would sum up my reaction quite well. It would read something like this: Audra is perfection and can do anything.

On the heels of Kander and Pierce's KID VICTORY comes Blaemire's SOON. Much like KID VICTORY, this premiere production is bit quirky, wholly original, daring, and seeks to advance our understanding of what we know musical theatre to be.

It's likely of little surprise to anyone that follows the workings of the highest court in our nation that any legal battle situation involving conservative Supreme Court Justice Antonin Scalia and an opponent is ripe for theatricalization. Arena Stage's resident playwright John Strand has done just that with his world premiere play, THE ORIGINALIST. However, the play he wrote is not the one we all might expect.