Jenny Minich - Page 2

In the wake of a marathon holiday season, there is a helluvah lot to love about Stephen Karam's Tony Award-Winning The Humans.

Riddled with anachronisms and enough irreverent potshots to keep your naughty inner child sated through the New Year, The Second City's Twist Your Dickens is just the ticket for a crowd of world-weary Washingtonians.

My Name is Asher Lev is easily digestible and fast-paced. There are moments of inspiration and reflection throughout the production that make the play a worthwhile trip to the theater.

In ST NICHOLAS, McPherson's twisted sense of Irish humor, flawlessly executed by Beall, is so watchable because it is so bizarre.

An Act of God is an irreverent black comedy that manages to retain mass appeal.

The Lover and The Collection ooze Mad Men-era sex appeal.

Whether you feel like having a fun night out or maybe you want to explore your options for life in post-apocalyptic DC, LiveArtDC's latest offering, Noah: Apocalypse is just the thing for you.

Oliver takes Ginsberg's words and applies an emotional intelligence that resonates with the beleaguered Capital Fringe Festival audience of 2017.

Director Kent Gash charges the space with electricity and ardent, sincere emotion. Gash asks a lot of his cast in an intimate setting; Wig Out! is a physically immersive experience.

LiveArtDC is unpredictable; grassroots theatre at its best. Clara Bow: Becoming 'It' is their Capital Fringe Festival 2017 offering.

Love and Other Lures is a truly original, DC-based (there's good monster-watching here) comedic enterprise with the capacity to just keep giving to anyone who craves an alternate reality in which love with a monster is possible, if deadly.

I'm Margaret Thatcher, I Is! is a tongue-in-cheek celebration of comedy for the comedian's sake. And if they're having fun, you're having fun too.

Unlike in your real life, there is someone onstage able to give voice to your concerns and make you laugh when you feel like you want to cry. The Second City wants you to know you're not alone!

Important content and several exceptional performances outweigh 1st Stage's flawed production of August Wilson's Ma Rainey's Black Bottom. 

DC is a topsy-turvy, satirical farce; or so it seems this morning. Happily, so is The School for Lies. At least The School for Lies is fiction and man, it felt good to laugh.

HIR is the conscientious absurdist's guide to confronting 'the world order.' It's crazy watchable, like some kind of substantive, impactful, topsy-turvy sitcom. Mac's characters are flamboyant and talk very loud about all the things that our parents told us not to discuss in public. And it's wonderful!

Madame Butterfly is a tragic tale with a colorful beginning. Giacomo Puccini's turn-of-the-century opera is accessible and engaging, tailor-made for opera buffs and newbies alike.

Director Stevie Zimmerman's Doubt is a somber, fast-moving production.

Why are some people well and others unwell? Playwright Lisa Kron's Well, asks the hard questions. In this s-called 'multi-character theatrical exploration,' Kron (Adurey Bertaux) is the star in her play-within-a-play chronicling her real-life experiences growing up in Lansing, Michigan in the 1960s.

Staged in tandem, playwright and director Aaron Posner's contemporary original No Sisters and Anton Chekhov's modern classic Three Sisters (1901) fuse the classic and the contemporary in a power move that is calculated to attract theatregoers of all persuasions.