Washington, District of Columbia

Wier Harman writes about being part of the National Arts Strategies Chief Executive Program, and the “Organization as Citizen” project.

Holly L. Derr on Destiny of Desire by Karen Zacarías, Animal by Claire Lizzimore, Queens Girl in the World by Caleen Sinette Jennings, Women Laughing Alone with Salad by Sheila Callaghan, and Uprising by Gabrielle Fulton, all part of the Women’s Voices Theater Festival in Washington, DC.

In this first installment, Producer Annalisa Dias offers tips and advice about artistic vision, networking, and production venues.

Patricia Davis interviews Ron Menzel, an actor in Studio Theatre's production of Lucy Kirkwood’s Chimerica in Washington, DC.

Patricia Davis on Mehshaun Labrone’s Power! Stokely Carmichael at Washington DC’s Capital Fringe Festival.

Patricia Davis on Kathryn Brant’s The Good Counselor, produced by 1st Stage in Tyson’s Corner, Virginia.

Playwright Stephen Spotswood discusses his process during the development of his play The Last Burlesque, currently in performance.

Blair Ruble addresses the recent criticism of Synetic Theater’s artistic adaptations of Shakespeare. 

Jacqueline Lawton interviews Acting Artistic Director of Theater J, Shirley Serotsky.

Patricia Davis on Teatro de la Luna’s US premiere of the Spanish language solo play, Maria Magdalen, La Mujer Borrada written and directed by Viviana Cordero.

Patricia Davis on the Hub Theatre’s production of Adam Bock’s The Typographer’s Dream in Fairfax, VA.

George Brant’s Grounded, at Olney Theatre, is a fast-paced, suspenseful, and moving one-woman show about a drone operator’s struggle to play two roles: annihilator and mother.

Patricia Davis on House of Desires by Sor Juana Inés de la Cruz produced in Spanish with English surtitles by GALA (Grupo de Artistas Latinoamericanos) Hispanic Theatre in Washington D.C. 

Ronee Penoi on Shear Madness, the longest running play in the American Theatre. 

Scena Theatre is small but ambitious, and in spite of its relatively low profile, it has thrived in Washington for twenty-seven years.  Founding artistic director Robert McNamara is tenaciously committed to bringing new work from around the world to D.C. audiences.

P. Carl interviews Ari Roth about his recent firing from Theater J and the power of theatre in politcs. 

Though set in 1988, the play’s insistence on the power of words, creativity, and voice as a means of self-assertion, growth, and transformation is of timeless importance and is especially relevant now.

Richard Washer is a Washington fixture, having worked in the Washington, D.C. area for more than thirty years as a playwright, director, dramaturg, and educator. He is humble, unassuming, and quietly essential to many in the DC area who are developing new plays.