Rachael F. Goldberg - Page 4

'From Gumbo to Mumbo' is like a favorite books of poetry – a little rough when you’re still learning the rhythms, but ultimately captivating. Anderson and Lawson-Brown’s command of language is stunning, and the linguistic juxtapositions in this script are so artful, the audience could discover a new, intriguing turn of phrase with each viewing.

Round House Theatre leans into our current circumstances and puts on a good show. It's just a shame that our reality is so much worse than we could have envisioned only a few years ago that even cautionary and bitingly political statements now fall short of where we really are.

I've been as hungry for new shows as I'm sure many theater fans have been. And this particular show has the creativity, resourcefulness, and talent to bring us what we've been missing. But the underdeveloped back story, the shaky premise, and the technical issues make the experience fall short of the expectations the production's potential sets for it.

The #OpenYourLobby movement is the latest in the Theater Community's history of protest.

'Museum 2040' is a stunning, meticulous look at the future we face if we don't break out of the cycles that have become a part of American life. Renee Calarco's world-building is impressively, hauntingly, realistic, and it's beautifully brought to life by 4615's incredible cast and crew.

'Easy Women Smoking Loose Cigarettes' is a smart, insightful show with an incredibly talented cast and production team. It's a heartfelt, surprisingly funny, and achingly realistic portrayal of a family struggling with their demons, brought to life by an outstanding team.

Overall, 'La Clemenza di Tito' is an interesting take on the beloved Mozart piece, though it feels very rough as a production, and the Kennedy Center's Eisenhower Theater may not be the ideal venue for this staging. But with a fabulous cast, team of dancers, and orchestra, it still makes for an enjoyable evening.

'Heroine' handles a number of deep, complex issues. And yet, it manages to do so with a sensitivity and care that feels respectful and fitting to those it portrays, directly or indirectly. The care and attention put into this production by every member of the team shows in the performance, and beyond the stage.

'No Exit' itself is a wonderful source material, and it was intriguing to hear Live Garra Theatre's plans to update and add an escape room element to the famous play. I walked into this show excited to see a new, modern twist on one of my favourite plays. Instead, I walked out incredibly disappointed.

'Occupant' is a beautiful, intimate piece about a fascinating woman, presented in a clever and engaging manner. Every element of the production is thoughtful, and it's thoroughly enjoyable to settle in for an evening with Louise and her part-admiring, part-critical interviewer.

Arena Stage's production of 'Junk' marks the Washington, DC area premiere of the critically acclaimed play, and, happily, Arena's production is more than up to the task of living up to the show's reputation.

Perhaps the biggest problem with 'The Heiress' is that it's difficult to invest in. It's hard to root for Catherine beyond hoping she tells Morris off, and that's more about dislike of him than support for her. After all, we can all get behind telling off a bad ex. It's just a shame that The Heiress doesn't give us the opportunity to go deeper than that.

Mona Mansour is a member of the Public Theater's Emerging Writers Group and a resident playwright at New Dramatists. 'The Vagrant Trilogy,' which follows a Palestinian family over a forty-year period, is comprised of three of her plays; the Mosaic Theatre production, which opens on June 11th (previews start June 6th), is the first time all three plays will be staged together. 'The Vagrant Trilogy' is part of the 2018 Voices from a Changing Middle East Festival.