Peter Rouleau

A lone man taking on a developer to keep his property. A woman being courted by a man of means favored by her parents and a rogue. A couple whose  prosperous appearance masks deep insecurity, secrets, and recriminations. These are all familiar elements, perhaps even cliches, but in Best Medicine Repertory's new play 'Civilizing Lusby,' they are given new life in a funny and engaging production.

Olney Theatre Center's Roberts Mainstage is presenting Ken Ludwig's 'Lend Me a Soprano' through March 10. This is a reimagining (by the author) of Ludwig's Tony-winning farce 'Lend Me a Tenor,' a staple of professional, community, and school theatres nationwide...which I've somehow never seen.  As the change in the title suggests, the production is gender-swapped; the male roles in the original are female in the new version and vice versa. Having not seen the original, I cannot speak to the difference in effect in the new version, but can only evaluate 'Soprano' on its own merits...and it has many merits.

A pleasantly diverting spectacle.

An interesting and engaging interpretation of the work of one of the most consequential American songwriters.

Just over a year ago, I reviewed 1st Stage's production of N. Richard Nash's 'The Rainmaker,' about a conman offering hope to a drought-racked farm family. Now, the Tyson's Corner-based company is presenting another story of hope, love, and determination in the prairies.

An intriguing venture into oft-visited territory.

What did our critic think of YOU'RE A GOOD MAN, CHARLIE BROWN at Adventure Stage?

A brilliantly-performed, well-mounted play about a horribly-performed, disastrously staged play.

For a variety of logistical reasons, immersive or environmentally-staged theatre, in which the audience is seated in the midst of the action, is rarely undertaken. Prior to seeing the show I'm reviewing, the only such performance I recall was in college at Salisbury University. An ambitious directing student chose a scene from Sean O'Casey's 'The Plough and the Stars;' transformed the black box theatre into the tenement house where the play takes place and sat the audience members at various places therein.

Let me tell you a bit about myself. Even before the death of George Floyd and the political earthquake that followed, I have long been of the opinion that drastic and systemic changes are needed in the American judicial system.

A touching and engaging portrait of an immigrant community confronting the struggles of daily life.

A funny, touching variation on a familiar story.

A humane, engaging look at how shared trauma can lead to meaningful connection. How often does a play draw you in before it even begins? The set for 1st Stage's production of E.M. Lewis' 'How the Light Gets In,' designed by Kathryn Kawecki, is one of the most creative and innovative I have ever seen at a regional theater. The black box is transformed into the Japanese garden that serves as the epicenter of the play's action, complete with a wooden bridge, realistic floral displays, and a pond. The set is well-complemented by Helen Garcia-Alton's lighting and sound designer Gordon Nimmo-Smith's ambient noise.

This time of year, various professional and amateur theater companies present Christmas-oriented stage productions. Pardon me while I spoil 80 percent of them: Scrooge realizes he's a prick and gives Cratchit a raise. Those searching for an alternative to the usual fare could do far worse than to attend Step Afrika!'s Magical Musical Holiday Step Show at Arena Stage this week.

American literature has a soft spot for con artists, those ruffians who, lacking the skills or inclination to earn an honest living, prosper by using sheer charm and creativity to tell other people what they most want to hear. These rapscallions, despite living by lying, often find themselves in a position to help other characters discover certain truths about themselves. 1st Stage's production of N. Edward Nash's 1954 play The Rainmaker is an enjoyable and entertaining visit with one such miscreant.

A lively contemporary rethinking of a classic Irish comedy.