Tag: Maryland Theater Arts
Review: ‘Great Expectations’ at Everyman Theatre
Everyman Theatre (“Everyman”) continues its 2016/2017 season with an ambitious production: Charles Dickens’ Great Expectations. A work of literature epic in scope and scale,...
Review: ‘The How and the Why’ at Theater J
The How and the Why - Sarah Treem’s celebrated play about science, feminism and generational rivalry - has just made its long-awaited DC debut...
Review: The Philadelphia Orchestra Performs Mozart and Brahms
During the 44 years when Eugene Ormandy was music director of The Philadelphia Orchestra (1936 to 1980), he led almost every concert. There was...
Review: ‘The Taming of the Shrew’ at Synetic Theater
Synetic’s The Taming of the Shrew is disarming, decadent, and a great visual rush. It is also great, dialogue-free storytelling with its own edge...
Review: ‘Calendar Girls’ at Colonial Players of Annapolis
The Colonial Players’ production of Calendar Girls is a screamingly funny, yet poignant comedy. Written by Tim Firth, who co-wrote the 2003 movie, and...
In the Moment: Atlas Intersections Festival 2017: Four Dance Troupes: ...
This year’s Atlas Intersections Festival has a theme of “where the art world and the real world intersect. The Festival aims to “engage audiences and...
In the Moment: A Talk with the Pipeline Playwrights: Part ...
Northern Virginia is very much alive and supporting original play development by local playwrights. The diversity of the Northern Virginia demographic provides for fresh...
Review: ‘The Trojan Women’ at Taffety Punk Theatre Company
The feminist movement has been on the rise for decades, but with our current political and social climate, saturated with patriarchal overreach into women’s...
Review: ‘Luther Re-Lives’ at the Publick Playhouse
The velvet voice and beautiful love ballads of one of the greatest R &B crooners of all time, Luther Vandross, lives on through the...
Review: ‘The Matchmaker’ at People’s Light
An effervescent all-star ensemble of fourteen actors and two musicians under the ebullient direction of Abigail Adams brings to life the eccentric characters, madcap...
Review: ‘God of Carnage’ at Compass Rose Theater
Compass Rose Theater does it again with another smart and dramatic production. God of Carnage is remarkable, this time with Director Steven Carpenter at...
Review: ‘Mary Martello: Songs My Mother Taught Me’ at the Arden...
I’ve seen Mary Martello onstage more times than I can count. The 5-time Barrymore Award winner has played everyone from Mrs. Lovett in Sweeney...
Review: ‘Trust’ at Fells Point Corner Theatre
What’s the nature of trust? What specifically makes a person choose one partner over another? These questions and more are brought up by Fells...
News: Howard County to See Two New Musicals: ‘The Hot New...
Howard County is about to enjoy the debuts of no less than two original musicals in the coming weeks. First up this week is...
Review: ‘Vive la France: The Magic of Saint-Saens’ at The National...
Love was in the air as The National Chamber Ensemble presented their Valentine's Day performance called Vive la France: The Magic of Saint-Saens.
The concert was...
Review: Ahamefule J. Oluo’s ‘Now I’m Fine’ at The Clarice
It takes bravery to decide that your story is worth telling. It’s even more admirable to have the courage to tell your story onstage...
Review: ‘No Solemn Silence: A Gilbert & Sullivan Review’ at George...
George Mason University (GMU) launched its Year of Gilbert and Sullivan Celebration with a clever, bright, joyfully sung musical homage to the masterful Gilbert and...
Review: ‘Uncle Vanya’ at Hedgerow Theatre
A group of people are seated at a dinner table. They discuss the weather. Meanwhile, their lives are falling apart. With the revealing use...
Music with a Mission: Interview with Last Chance, a Great American...
Last Chance, Philadelphia’s much-talked-about musical duo of singer-songwriter Jack Scott (vocals, banjo, and guitar) and Ingrid Rosenback (vocals, fiddle, and harmonica), has been performing...
Review: ‘H20’ at Rep Stage
Not everyone who attends Jane Martin’s H20 at Rep Stage will necessarily agree, but the case could be made for its taking place in...