The Comeuppance–on stage now at Woolly Mammoth Theatre–is a dark comedy with a simple premise that slowly builds tension, layers, and unexpected nuances. It is anything but simple, and the production kept surprising from beginning to end.
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The Broccoli City Festival 2024 ignited D.C. with unity and celebration during the final weekend of July. This year's event marked a significant upgrade as it moved to the city's newest sports venue, Audi Field, home of D.C. United.
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Just opened in May at the Mexican Cultural Institute in Washington, DC, La Vida Entre Latidos, in collaboration with IBERO University, features the lush, high-definition photography anthological series of Mexican artist Miguel Milló (b. 1959). Best translated as “Life Between Heartbeats,” the show highlights strange and fragile figures that are the protagonists of the portraits.
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“Phone rings, door chimes, in comes… Company?” That refrain is one of Stephen Sondheim’s greatest earworms (second only perhaps to “Bobby, Bobby baby, Bobby bubi, Robby,” etc. in the same song). And, in the shaky touring production of Marianne Elliott’s inventive reimagining of the beloved musical, playing at the Kennedy Center through March 31, it presents more like a cautious question than a confident declaration.
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Whether an indulgence of the market or a rebellion against it, Stefano Massini’s The Lehman Trilogy is undoubtedly a triumph. Since its translation into English by Mirella Cheeseman and its significant adaptation by playwright Ben Power, the play has carved out a generous space in the theater world, touring and transferring between theaters across Broadway, LA, and the West End for the past seven years.
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Longing for a life beyond their exile, three Cuban sisters deal with loss and hope in GALA Theatre's Las Hermanas Palacios (The Palacios Sisters). Inspired by Anton Chekhov's Three Sisters, this powerful production examines themes of longing and belonging in a vibrant 1980s Miami.
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