[This review, originally published September 1, 2025, under a slightly different title, has been revised at the request of Theater Alliance so as not to reveal certain information about the play’s characters.]
In today’s upside-down reality, sometimes it’s hard to keep up with what’s real, what’s not, and what surreal situation is totally accepted as normal. The new play now at Theater Alliance, fire work by Mary Glen Fredrick, is a peek inside an alternate dystopian reality where labor and survival have been twisted into strange new forms, and rules we take for granted no longer apply.
Eleanor and Bartholomew are glass factory workers who create massive fireworks to entertain the otherwise dreary populace at night. Eleanor’s family depends on her earnings, and her desperation for work is palpable. As much as she loves and appreciates her “play husband” Bartholomew, she’s nearly enraged when he is selected as foreman with increased pay — just pennies more a day. A ragtag crew from the other side of town, nearly feral in nature, piques her interest as they play an aggressive dodgeball game they call “Eat the Rich” and introduce Eleanor to thinking beyond her meager existence. What if they could use firework munitions to teach the overclass folks a lesson? Make-shift bombs in reckless hands — what could go wrong?
The hijinks of this crew are disturbingly funny. They light joints and smack each other around in a Lord of the Flies–type hierarchy. Andreá Bellamore plays Eleanor with gritty determination while Solomon Langley’s Bartholomew anchors the ensemble, trying to be reasonable and cautious, and thus smacked down as a “traitor” to their proletariat cause. All of the actors bring rambunctious energy to their roles. Madison Norwood as Fox is strategic as she maneuvers her friendship with Eleanor to get the task done; Alina Collins Maldonado’s Lula has a no-nonsense gravitas that’s best not to cross; Victoria Gómez’s Geraldina bounces about with tireless energy, while Eric Lane is impressive as nonverbal Tug, who uses his own made-up hand gestures to relay his messages with unmistakable clarity. Executive Artistic Director Shanara Gabrielle directed the show with ferocious physicality and verve, while Nikki Mirza handled the rough-and-tumble choreography and tussling intimacy.
In one absurd bit, the major capitalist character, Sandstone, is played with exaggerated pomp — top hat, shaded half-rim glasses, and walking stick (Sebastian Cummiskey and Chase Carolyn Williams alternate in the role). A ringer for the Monopoly rich banker, Sandstone struts around as the others genuflect, spouting about the need for order and maintaining the status quo. The scene provides a much-needed hoot, highlighting the bizarre scenario while showcasing the company’s artistry, including Danielle Preston’s marvelous handiwork costuming the upper-crust Sandstone and the ragged, disheveled motley crew.
Last but certainly not least, light and sound by Yannick Godts and Matthew M. Nielson, respectively, elicited oohs and aahs with massive firework displays and explosions splashed across the ceiling and the nicely designed set by Gisela Estrada.
The unsettling premise of fire work is uncomfortable and disturbing, but maybe it’s time to get pushed out of our comfort zones. The theater says of the show, “With heist thrills and disturbingly funny twists, fire work ignites a fierce, anti-capitalist fable for our times; set in a heightened, slightly absurd world where past and future blur, it explores survival, love, friendship, and the explosive cost of complacency in a system built to burn us out.”
Kudos to Theater Alliance for collaborating with the National New Play Network on this Rolling World Premiere with Unicorn Theatre (Kansas City, Missouri) and The VORTEX (Austin, Texas). The production says a lot about smaller theater engines that keep going in these stringent times. The explosive fire work is a testament to the resilience of artists compelled and committed to provide space and consideration for exciting new voices and works.
Running Time: Approximately 90 minutes with no intermission.
fire work plays through September 21, 2025, presented by Theater Alliance performing at The Westerly, 340 Maple Drive SW, Washington, DC 20024. Showtimes are Thursdays and Fridays at 7:30 pm; Saturdays at 5:00 pm and 8:00 pm; Sundays at 3:00 pm. Tickets ($40) can be purchased online, from the box office at boxoffice@theateralliance.com, or at (202) 241-2539. Discounts are available for students, seniors, active and retired military, East of the River neighbors, and industry professionals; details here.
COVID Safety: Masks are optional.
fire work
By Mary Glen Fredrick
Directed by Shanara Gabrielle
A National New Play Network Rolling World Premiere with Unicorn Theatre (Kansas City, MO), Theater Alliance (Washington, DC), and The VORTEX (Austin, TX)
CAST
Eleanor: Andreá Bellamore
Bartholomew: Solomon Langley
Lula: Alina Collins Maldonado
Fox: Madison Norwood
Tug: Eric Lane
Geraldina: Victoria Gómez
Sandstone: Sebastian Cummiskey and Chase Carolyn Williams
CREATIVE TEAM
Playwright: Mary Glen Fredrick
Director: Shanara Gabrielle
Scenic Designer: Gisela Estrada
Lighting Designer: Yannick Godts
Sound Designer: Matthew M. Nielson
Costume Designer: Danielle Preston
Props Designer: Luke Hartwood
Projections Designer: Jonathan Dahm Robertson
Ass. Lighting Designer: Trinity Joseph
Choreographer/Intimacy: Nikki Mirza
PRODUCTION TEAM
Stage Manager: Regina Vitale
Assistant Stage Manager: Isabella Tapia
Lighting Supervisor: Elijah Thomas
Asst. Lighting Supervisor: Trinity Joseph
Audio Supervisor: Allison Pearson
Wardrobe Supervisor: Reigen Coffee
Stage Manager Cover: Samba Pathak
SEE ALSO:
Theater Alliance announces 2025/26 season (news story, July 31, 2025)
