The second half of the theater season is as rich and potent as the first half, with powerful productions of works by August Wilson, Sarah Ruhl, and Kenneth Lonergan. One of the most anticipated undertakings is Mosaic’s staging of Ifa Bayeza’s epic The Till Trilogy. We also can’t wait to see what The Shakespeare’s Simon Godwin has up his sleeve for Much Ado About Nothing, as well as Woolly’s Teenage Dick, a modern update on Richard III set in a high school.
But it’s musicals that dominate the spring and summer, with the return of the drop-dead astonishing Hamilton to the Kennedy Center, as well as a new production of Jesus Christ Superstar, Once On This Island, and the Broadway Center Stage rendition of Bye, Bye Birdie, featuring the legendary Harvey Fierstein. There’s also a sure-to-be boisterous production of Guys & Dolls at Ford’s, Memphis and Hedwig over at Keegan, Pippin at Olney, Fun Home at Studio, and Hair at Signature, which we’re quite sure will retain its infamous nude scene. Signature also makes a rare departure from its Virginia home for a two-week stint at The Anthem, where Eric Schaeffer and company intend to turn us all into “Dancing Queens.”
Editor’s Note: Some events might be postponed or cancelled due to the COVID-19 coronavirus. Please check ahead with the individual venues.
The Snowy Day and Other Stories by Ezra Jack Keats — This beautiful show follows the character of Peter and his friend Archie around the neighborhood in four of Ezra Jack Keats’ beloved tales (Now to 4/5)
Lyle the Crocodile — When a crocodile turns up in a bathtub in an apartment, he becomes good friends with the folks in the building except Mr. Grumps (4/24-5/31)
Madagascar – A Musical Adventure — Based on the Dreamworks animated film. Directed by Natsu Onoda Power (6/26-8/23)
Rasheeda Speaking — A tense workplace thriller that examines the realities of “post-racial” America when two co-workers — one black, the other white — are driven apart by the machinations of their boss (Now to 3/22)
Seven Guitars — Pittsburgh in the 1940s is the backdrop for August Wilson’s fifth cycle play. Seven lives are interconnected when old friend and blues singer vows to turn his life around after a surprise windfall. Tazewell Thompson directs (4/3-5/3, Fichandler)
Toni Stone — Considered a African-American pioneer, Toni Stone blazed a path in the male-dominated world of baseball in the ’50s (4/23-5/31, Kreeger)
The 39 Steps — A cast of four actors embodies over 150 characters in this fast-paced and riotously funny remix of Hitchcock’s 1935 spy thriller. Nick Olcott directs (Now to 3/15)
Eurydice — Sarah Ruhl’s fresh reimagining of the classic Orpheus myth, told through the eyes of its heroine. Directed by Mary Hall Surface (5/8-5/31)
Queens Girl: Black in the Green Mountains — As the Vietnam War rages and the Kent State killings ignite college campuses across the country, Jackie arrives in Vermont to begin college where she is forced to confront the space between white and black culture to find her place in the world. A World Premiere commission by Everyman (Now to 4/12)
Berta, Berta — In Mississippi, 1920, Leroy returns to the doorstep of his long-lost lover, Berta, covered in blood after committing a shocking crime. With his freedom in the balance, the clock is ticking for him to make amends (3/17-4/26)
Cry It Out — This no-holds-barred comedy by Molly Smith Metzler holds a microscope and a megaphone to the joys and perils facing new parents (3/31-5/3)
Awake and Sing! — A Jewish immigrant family must weigh the costs of holding onto an enduring belief in the American dream. By Clifford Odets (5/26-6/28)
Guys and Dolls — Peter Flynn, who knocked Into the Woods out of the park last season, returns to direct this classic, featuring the showstoppers “Luck be a Lady” and “Sit Down, You’re Rockin’ the Boat” (Now to 5/20)
Aunt Julia and the Scriptwriter — Set in Peru during the 1950s, this funny and tender story of an 18-year-old student who falls for a 32-year-old divorcee is based on the real life experience of Nobel Prize-winner Vargas Llosa (4/23-5/17)
Memphis — In the segregated ’50s, a young white DJ n falls in love with an electrifying black singer named Felicia Farrell. The 2010 Tony Award-winner for Best Musical (4/10-5/10)
Yoga Play — A provocative comedy about authenticity and enlightenment in a world determined to sell it (6/5-6/27)
Hedwig and the Angry Inch — John Cameron Mitchell’s award-winning, one-of-a-kind rock musical (7/24-8/23)
Jesus Christ, Superstar — In celebration of its 50th anniversary, a new mesmerizing production comes to North America from London. Just in time for Easter! (4/14-4/26, Opera House)
Broadway Center Stage: Bye Bye Birdie — A loving send-up of the early 1960s, small-town America, teenagers, and rock and roll featuring James Van Der Beek, Carly Hughes and Harvey Fierstein (4/23-4/26, Eisenhower)
Royal Shakespeare Company: The Taming of the Shrew — Justin Audibert turns Shakespeare’s fierce comedy of gender politics on its head (5/6-5/10, Eisenhower)
Tiny Beautiful Things — An original Kennedy Center production based on the best-selling book by Cheryl Strayed and adapted by Nia Vardalos (6/2-6/28, Terrace)
Hamilton — The astounding Tony-winning musical returns for 14 weeks (6/16-9/20, Opera House)
Once On This Island — Lynn Ahrens and Stephen Flaherty’s musical tells the sweeping, universal tale of a fearless peasant girl in search of her place in the world (6/23-7/12, Eisenhower)
A Monster Calls — A powerful new adaptation by visionary director Sally Cookson (7/21-8/9, Eisenhower)
To Kill A Mockingbird — Aaron Sorkin’s adaptation of Harper Lee’s Pulitzer Prize-winning masterwork which took Broadway by storm (but are we getting Jeff Daniels? Please?) (8/25-9/27, Eisenhower)
Inherit the Windbag — Liberal Gore Vidal and conservative William F. Buckley meet to reprise their infamous debate (Now to 3/29)
The Till Trilogy — Ifa Bayeza’s three plays — The Ballad of Emmett Till, That Summer in Sumner, and Benevolence — tell the story and impact of the life of Emmett Till. In rep (4/1-6/21)
Roald Dahl’s Charlie and the Chocolate Factory — Get your Golden Ticket (4/7-4/26)
Summer: The Donna Summer Musical — The life of the disco diva with a score featuring more than 20 of her classic hits including “Love to Love You Baby,” “Bad Girls” and “Hot Stuff” (7/22-8/2)
Cost of Living — Two parallel narratives intersect as a wealthy graduate student with cerebral palsy and his newest caretaker build an uneasy trust, while a truck driver struggles to reconnect with his estranged wife, recently left paralyzed by a car crash in this Pulitzer Prize-winning drama (4/1-4/19)
Big Love — Fifty Greek maidens flee across the sea to Italy and claim refugee status to escape fifty arranged marriages. The fifty Grecian men follow in pursuit (5/20-6/21)
The Amen Corner — A Harlem pastor rails at her congregation and her teenaged son for their vices. She must face the music herself when a figure from her own troubled past returns (Now to 3/15, Harman)
Timon of Athens — Artistic Director Simon Godwin makes his directorial debut at the Shakespeare with a restaging of his recent, acclaimed production, featuring Olivier Award-winner Kathryn Hunter (Now to 3/22, Michael R. Klein Theatre, formerly Lansburgh)
Romantics Anonymous — Two chocolatiers suffering from social anxiety fall in love in this heartwarming musical (4/7-5/17, Klein)
Much Ado About Nothing — Godwin takes the reins to close the season with one of Shakespeare’s most beloved comedies (5/5-6/14, Harman)
Easy Women Smoking Loose Cigarettes — A world premiere comedy by D.C. area playwright Dani Stoller (Now to 3/29, Ark)
Camille Claudel — Turn-of-the-century French sculptor Camille Claudel was a groundbreaking artist and a revolutionary free-thinker, but her entire life was determined by the men around her. A new musical (3/24-4/19, Max)
Nijinsky’s Last Dance — A masterful tour-de-force that delves into the fascinating and troubled genius of the greatest dancer who ever lived (4/14-5/24, Ark)
Hair — The joyous, buoyant, and trippy musical that took the ’60s by storm, featuring classics as “Age of Aquarius,” “Let the Sunshine In” and, of course, “Hair” (5/19-7/12, Max)
Mamma Mia! — The mega-hit musical, set to the soundtrack of ABBA’s greatest songs, directed by Eric Schaeffer in a two-week limited run at The Anthem (6/25-7/5)
Pass Over — A humorous and chilling collision of the Exodus saga and Waiting for Godot about the dreams of generations of young black men marooned in a cycle of violence (Now to 4/5, Milton)
Fun Home — Studio Artistic Director David Muse directs this heartfelt, powerful musical about coming out, based on the memoirs of lesbian cartoonist Allison Bechdel (5/13-6/14, Mead)
Aspen Ideas — The world premiere of a fast-paced and darkly comedic thriller about the poisonous appeal of believing that the best ideas win (6/24-7/19, Milton)
The Bitter Earth — An introspective black playwright finds his lack of activism questioned by his white boyfriend, an impassioned member of the Black Lives Matter Movement (Now to 3/22)
The Blackest Battle — A revolutionary hip-hop musical written by Psalmayene 24 (5/16-6/14)
There’s Always the Hudson — Paola Lázaro’s new work takes an unflinching look at confronting trauma, and how the bonds with our chosen family can carry us through (4/6-5/3)
Teenage Dick — Mike Lew’s modern, darkly comic re-telling of Shakespeare’s Richard III set in high school. Bullied because of his cerebral palsy, Richard is willing to crush his enemies in order to become senior class president (6/1-6/28)
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Arriving at a particularly tense time for the nation's capital, Woolly Mammoth's funny, subversive It's a Motherf**king Pleasure is a breath of fresh air. It's inoculated in that this is British-born and performed theater -- and the Brits really do get something of a pass when it comes to the kind of irreverence that would otherwise raise eyebrows and hackles.
Indeed, this special brand of immunity is tested in the first few frenetic minutes of Motherf**king where all energies are spent trying to decipher whether it's okay to laugh or if this is some kind of awareness-raising exercise (or, in other words, a trap) for the well-intentioned but woefully-not-getting-it.
"It was in high school that the theater bug hit me," says Miss Kitty. "I started as a singer before, and then, once I got to college, that's when I really started getting into dance." By the time she graduated from college, she notes with a flourish, "you could say became a triple threat."
The local performer's potential to become a triple threat was intimated early on by key officials in the drama department of her alma mater, Catholic University.
"I remember auditioning for a production of Gilbert and Sullivan's The Pirates of Penzance," she says. "They called me back as Ruth, the nursemaid. Many of my classmates and my voice teacher questioned that, I told them, 'No, I'm actually quite elated that they would be willing to call me back to play a female part, because I would feel a lot more comfortable that way."
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