2019 Capital Fringe Review: ‘Starcrossed’
Starcrossed is a re-imagining of Shakespeare’s Romeo & Juliet with a new pair of starcrossed lovers: Mercutio and Tybalt. Worked seamlessly within the dialogue...
Dispatches from Mike Daisey’s ‘A People’s History,’ Chapters 1 to 18
Over 16 days in Washington, DC, in July 2019, Mike Daisey gave 18 different performances, each about an hour and 45 minutes long, of...
2019 Capital Fringe Review: ‘Inferno the Musical’
“Heaven is so boring.” That’s the complaint of a modern-day version of Dante Alighieri in Inferno the Musical, a look at the vagaries of...
2019 Capital Fringe Review: ‘SPEAK*Girls Presents’
The true critic of this year’s second annual SPEAK*Girls Presents is a thirteen-year-old young woman, who shared at the rousing end of this year’s...
2019 Capital Fringe Review: ‘If These Balls Could Talk’
There’s plenty of beef in Carolann Valentino’s one-woman musical, If These Balls Could Talk, about her life as a young actress from Texas working...
2019 Capital Fringe Review: ‘Home, Sweet, _____’
Home, Sweet, _____ takes audiences on a sentimental journey through music, sight gags, and pantomime. Without words, Home, Sweet, _____ tells the story of...
2019 Capital Fringe Review: ‘Acuña Acuna’
Whenever Erick Acuña is asked to play Peruvian music, he launches into a burst of rock. Why not, he wonders, since rock is his country’s...
2019 Capital Fringe Review: ‘Little White Lies’
Four performers appear from unexpected places. Emerging from hallways, stairways and around corners with a rippling and tribal urgency, the movement of the dancers...
2019 Capital Fringe Review: ‘All for the Union’
15 actors. 20 scenes. The Civil War. A lot is at stake in All for the Union, written by the prize-winning playwright, librettist, and...
2019 Capital Fringe Review: ‘Arcade’
Arcade is unlike anything you will experience at Fringe. Equal parts art installation, gaming experience, and nostalgia, Arcade perfectly encapsulates the feeling of walking into...
2019 Capital Fringe Review: ‘Iphigenia in Splott’
Set in a blighted corner of Wales, Iphigenia in Splott is a breathtaking one-woman show, imported from the UK and written by Gary Owen,...
2019 Capital Fringe Review: ‘The Knights of Salisbury’
The Knighthood Players’ Production of The Knights of Salisbury, by Tim Caron, directed by Tim Caron and Ilyana Rose-Davila, with music direction by Jason...
2019 Capital Fringe Review: ‘American Diet’
Here’s a show description you don’t see often: “A dark yet whimsical exploration of food, fitness, body image, and metabolic endocrinology.” And I will...
2019 Capital Fringe Review: ‘EyeSOAR’
EyeSOAR is primarily a dance performance which incorporates video, audio interviews, music, and the spoken word to tell the story of the Shirlington neighborhood...
2019 Capital Fringe Review: ‘Beyond These Walls’
Beyond These Walls is a provocative contribution to the Capital Fringe, and well worth seeing. It was originally devised in 2018 under the direction...
2019 Capital Fringe Review: ‘This Place of Ours’
When done well, dance has a unique ability to tell a compelling narrative through themes that audience members can then adapt to their own...
2019 Capital Fringe Review ‘What Wasn’t’
By Rebecca Kurtz
Perhaps it is a matter of personal preference that at Fringe I am often more taken by the comedies than by the...
2019 Capital Fringe Review: ‘Nothing Broken’
Nothing Broken is an autobiographical one-woman show written and performed by Amanda Haddock, directed by Cathy Reinking. It tells the story of Hope, who...
2019 Capital Fringe Review: The Little Senator That Could
The Little Senator That Could held its world premiere at Capital Fringe on July 12, 2019, and it is nearly perfect for Washington, DC....
2019 Capital Fringe Review: ‘Six Months of Winter’
By Helen Ganley
Conjuring up images of day and night, one imagines the sun cascading into a pink and purple horizon while the moon excitedly...