A Rendezvous with the co founder of Jashn-E-Qalam Shashwita Sharma. Mesmerizing one act play rendition of short stories from well known writers.

It was only a matter of time before a Hilary Bettis play received a full production in DC. Her work has brought her to Orlando Shakes PlayFest, Bay Area Playwrights Festival, O'Neill National Playwrights Conference, New York Theatre Workshop, Cape Cod Theatre Project and La Jolla Playhouse, among many, many others. She is one of the newest members of The Kilroys and was a writer for FX's The Americans. In her Artistic Statement, she tells us that "through Story we can climb inside others' lives, and quite possibly find understanding, empathy, unity and forgiveness." Her plays - which include Alligator and The Ghosts of Lote Bravo - reveal a writer who cares deeply about the possibility of change through human interaction.

'In the Next Room' centers around Doctor and Mrs. Givings, an upper-middle-class late 19th century family. Doctor Givings specializes in treating hysteria, a malady which we now know to be a bunch of baloney, but which apparently plagued a large percentage of women in that era.

I have to admit, when I first saw that WaterTower Theatre's season touted a modern adaptation of A Doll's House by Henrik Ibsen, I was wary. Modernizing a classic is a risk whose success depends largely on motive. If done as a conscious and careful choice, it can deepen an audience's understanding of the piece. If done haphazardly, perhaps to cover an inadequate budget or a director's cursory understanding of the original text, it may have some fun modern elements, but they will likely be distracting rather than illuminating. Thankfully, WaterTower offers a sophisticated and enlightening modernization. Director and adapter Joanie Schultz modernizes the language and keeps the design firmly rooted in history. The choice to adapt does not hide a lack of understanding on Schultz's part - it in fact shows a true depth of understanding and familiarity with the text. It certainly does not disguise an insufficient budget; elaborate and historically correct fashions created by Melissa Panzarello and Amy Poe, in conjunction with a marvelous set designed by Chelsea M. Warren, convincingly portray the wealth of the late 17th century family at the heart of the drama. And if Schultz feared the audience might not understand? Rather than putting a band aid on that fear with some flashy modern props, she digs into the root of the misunderstanding, the translation from old Norwegian into modern English.

What do you get when you combine many talented women with phenomenal voices with inspiring stories and songs from many beloved Broadway musicals? You get a truly amazing show, which is exactly what Fabulist Theatre presented with OUR TIME: AN EMPOWERMENT CABARET. Performed at the Kitsilano Neighbourhood House in Vancouver, I did not know what to expect from this show as it was unlike anything I have attended in the past. Overall, I was pleasantly surprised with the show and enjoyed every single minute of it. With a very minimalist stage setup in the venue paired with a changing coloured lighting display, the voices and stories of the performers were able to stand out in this compelling production.

LITTLE WOMEN at The Firehouse Theatre in Farmers Branch is a nuanced and timely production. Watch the actresses shine under the guidance of a female directing team!

Druid Theatre, Galway, Ireland, announces the inaugural Marie Mullen Bursary, open to female theatre artists working in Ireland in the fields of design, directing and dramaturgy.