|
|
In a Co-Production by Woolly Mammoth Theatre Company and Theater J The World to Come Celebrates the Bonds of Friendship in a Dystopian World
The World to Come
Woolly Mammoth
Jordan Wright
February 14, 2026
 Claudia J. Arenas (Ruth), Brigid Cleary (Barbara), Naomi Jacobson (Fanny), and Michael Russotto (Hal) in The World to Come at Woolly Mammoth. (Photo/Cameron Whitman)
At the SeaBreeze Hebrew Home where ninety elderly people reside, we meet a core group of four calling themselves the “Supper Club”. It’s a tightly knit group consisting of Fanny (Naomi Jacobson), Barbara (Brigid Cleary), Hal (Michael Russotto)and Ruth (Claudia J. Arenas) who amuse themselves with jokes, off-color banter, gossip and card games, teasing each other relentlessly with feisty Fanny being the chief instigator.
New to the group is Ruth whose knowledge of Judaism is extensive (her late husband was a rabbi) and soon a tender romance develops between Ruth and Hal, a bit of a roué who falls madly in love with her. They are lovingly cared for by Nurse Mike (Rob Boddie who also plays Jerry/Soldier).
We soon learn it has rained for forty days and forty nights, fires rage throughout the country, they have no means of communication with the outside world, and the United Nations has been disbanded. A million people are dead in Massachusetts, and they cannot leave the residence as the hazardous air quality is killing people. In this dystopian world with death fast encroaching, the quartet of friends becomes dependent upon each other to survive.
 Michael Russotto (Hal), Brigid Cleary (Barbara), and Naomi Jacobson (Fanny). (Photo/Cameron Whitman)
Playwright Ali Viterbi takes inspiration from Jewish culture and religious text to inform her characters, their global predicament and their tender interactions. In The World to Come acts of survival blend seamlessly with gallows humor, hilarity and a fierce desire to help one another. “These all sound like the end times,” Hal prophesizes, as talk of doomsday is accompanied by references to ravens, ostriches and arrow snakes taken directly from the Book of Prophets.
As each day brings alarming news, a framed photograph is placed reverentially atop a spinet piano. Another resident has passed away, and the small group reflects on their collective memories of a friend. Soon Nurse Mike is caught stealing medications, forbidden by law to dispense to the elderly, and he is fired. A cycle of revolving nurses and angry soldiers appear in ever more frightening protective gear. One of the soldiers blames the older generation for the destruction of the planet. “We’re cleaning up your mess!” he admonishes. The accusation causes the friends to self-blame for not being more proactive in saving the planet while in their desperate search for food and medicine the hellish sounds of fighter planes bombing and ravens cawing echo ominously.
Viteri’s surrealistic ‘apocalypse play’ provides us with the key to the bonds of friendship and the sacrifices that define humanity in a world gone terribly wrong. It put me in mind of the great French Romanian playwright, Eugene Ionesco, the godfather of the Theatre of the Absurd, who employed surrealism to describe the iniquities of Fascism and Nazism, two isms recently resurfaced in our modern world.
 Claudia J. Arenas (Ruth), Michael Russotto (Hal), Rob Boddie (Nurse Mike), Brigid Cleary (Barbara), and Naomi Jacobson (Fanny). (Photo/Cameron Whitman)
Brilliantly directed by Woolly Mammoth Founder Howard Shalwitz in a co-production with Theatre J, and exquisitely performed by this multi award-winning ensemble, this powerful play is staged with imaginative sting. Viterbi reminds us that the shofar is sounding. It is time to act.
Scenic Design by Misha Kachman, Lighting Design by Colin K. Bills, Puppet Design by Ksenya Litvak, Costume Design by Ivania Stack, Dramaturg Sonia Fernandez, Sound Design by Sarah O’Halloran, Projections Design by Kelly Colburn, Dialect and Vocal Coach Katie McDonald, Fight and Intimacy Choreographer Lorraine Ressegger-Slone.
Highly recommended.
Through March 1st at Woolly Mammoth Theatre, 641 D Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.393.3939 or visit www.WoollyMammoth.net
Now at The National Theatre the Multi Tony Award-Winning Play Stereophonic Reflects the Personal Struggles of a Band Who Made Some of the Most Beloved Iconic Music of Its Day
Broadway at the National
Jordan Wright
February 12, 2026
 Jack Barrett (Grover) in the First National Tour of Stereophonic. (Photo/Julieta Cervantes)
Let’s just get this one particular misconception about this production out of the way. Stereophonic is not a rock concert per se. As many, myself included, have envisioned it to be. The producers call it “a play”. Nevertheless, it most assuredly has gorgeous original music by composer Will Butler (formerly of the band Arcade Fire) and an emotional story based on Fleetwood Mac’s years’ long effort to complete their iconic album “Rumours”. And, just to clear up one more thing, the show, Stereophonic, is in no way related to the Welsh band of the same name.
Writer David Adjmi’s story recalls 70’s era music production and that period’s notorious reputation of drugs, booze and Rock and Roll. Divided into four acts, the story focuses on a dysfunctional five-member band and two studio engineers, Grover (Jack Barrett), “We’ll just give them coke and booze.” and Charlie (Steven Lee Johnson), his assistant engineer and gofer, both young men trying futilely to keep the band’s massive egos under control. Lead singer and producer of the album Peter (Denver Milord) and the beautiful lead singer Diana (Claire Dejean) are an on-again-off-again couple, and, for a time, so are bass player, coke head and philanderer Reg (Christopher Mowod) and his wife keyboardist and vocalist Holly (Emilie Kouatchou), who seems to be the only band member who is sober and neatly grounded. Simon (Cornelius McMoyler), the drummer, the group’s manager and resident control freak, pines for his wife and kids back in England, who sadly never reunite with him in California. Despite their feuds, gaslighting and drama the group lays down beautiful music and gorgeous harmonies.
 Claire DeJean (Diana), Emilie Kouatchou (Holly), and Denver Milord (Peter). (Photo/ Julieta Cervantes)
Set Designer David Zinn’s two-story set is remarkable. The lower half is a control room with a large mixing board cum lounge where the band hangs out, freaks out and disses each other, and listens to their playbacks. The upper half is the ‘live room’ where the group performs and is separated from the control room by glass walls so that the cast is always within our view and where we can hear them. In their chats they reference 70’s pop culture, debating the movie, Don’t Look Back, which starred filmdom’s “It Girl”, Julie Christie, and her co-star Donald Sutherland and mentioning Carlos Casteneda, a Peruvian shaman whose books on magical realism were all the rage at the time.
In the fourth and final act the band moves to a studio in Los Angeles where the album at last comes to fruition. Expect mental breakdowns and mind games in this searing psychodrama as the unlikely group rises to the top of the charts in this wildly successful, five-time Tony Award-winning production. What sets this story apart from other “rock musicals” is the candor and intimacy between the group members and how, despite all odds, they are able to produce incredibly harmonious music.
In April 2024, Stereophonic became the most Tony-nominated play in history receiving 13 Award nominations. It then became the most Tony Award-winning show of the 2024 season, winning 5 Tony Awards including “Best Play”.
 Denver Milord (Peter), Christopher Mowod (Reg), Claire DeJean as (Diana), and Emilie Kouatchou (Holly). (Photo/Julieta Cervantes)
Directed by Tony Award winner, Daniel Aukin, it’s a stunner with a terrific cast!
Costume Design by Enver Chakartash; Lighting Design by Jiyoun Chang; Sound Design by Ryan Rumery; Orchestrations by Will Butler & Justin Craig; Music Direction by Justin Craig.
Through March 1st at The National Theatre, 1321 Pennsylvania Avenue, Washington, DC 20004. For tickets and information call the box office at 202.628.6161 or visit www.BroadwayatTheNational.com
What’s Onstage in the DMV For March and Early April 2026
Jordan Wright
February 11, 2026
 As You Like It via Folger Theatre
Folger Theatre www.Folger.edu
As You Like It Mar 10 – Apr 12
GALA Hispanic Theatre www.GALATheatre.org
The Library Mouse Mar 14 – 28
Studio Theatre www.StudioTheatre.org
Jonah Mar 11 – Apr 19
Aldersgate Theatre www.ACCTonline.org
Hay Fever Mar 13 – 29
IN Series www.INSeries.org
Passion Plays Festival Series
Only the Air Mar 6, 7, 8
Pasio Mar 13, 14, 15
For Women Serving Time Mar 20, 21, 22
Shakespeare Theatre Company www.ShakespeareTheatre.org
On Beckett through Mar 15
Hamnet Mar 17 – Apr 12
Hamlet Mar 27 – Apr 5
 Safety Not Guaranteed via Signature Theatre
Signature Theatre www.SigTheatre.org
I’m Here: Black Broadway – Cabaret Series Mar 17 – 29
Safety Not Guaranteed Mar 3 – Apr 12
Mosaic Theater www.MosaicTheater.org
A Young John Lewis: Prodigy of Protest Mar 26 – Apr 26
Best Medicine Rep Theatre Company www.BestMedicineRep.org
The Last Virginity Tour Mar 13 – 29
The Puppet Company www.ThePuppetCo.org
Cinderella Mar 7 – Apr 19
Toby’s Dinner Theatre www.TobysDinnerTheatre.com
Rock of Ages through Mar 15
The Wizard of Oz Mar 20 – June 7
Imagination Stage www.ImaginatioStage.org
Good Morning, Good Night Mar 21 – Apr 19
 Travesty via Woolly Mammoth
Woolly Mammoth www.WoollyMammoth.net
Travesty Mar 24 – Apr 12
Broadway at the National www.BroadwayattheNational.com
The Simon and Garfunkel Story Mar 14 & Mar 15 only
Disney’s Beauty and the Beast Mar 18 – Apr 5
Workhouse Arts Center www.WorkhouseArts.org/Theater-performances
Murder on the Orient Express Mar 6 – Apr 12
MetroStage at The Lyceum www.MetroStage.org
Still Unforgettable: A Birthday Salute to Nat King Cole Mar 30 only
Providence Players of Fairfax www.ProvidencePlayers.org
Crimes of the Heart Mar 13 – 22
Creative Cauldron www.CreativeCauldron.org
Twelve Dancing Princesses Mar 13 – 29
 Next to Normal via Iron Crow Theatre
Iron Crow Theatre at the Hippodrome www.Baltimore.Broadway.com
Next to Normal Mar 6 – 15
Adventure Theatre MTC www.My.AdventureTheatre-MTC.org
Freckleface Strawberry Pajama Party through Mar 29
Arena Stage www.ArenaStage.org
Chez Joey through Mar 15
Inherit the Wind through April 5
Hippodrome Baltimore www.BaltimoreBroadway.com
Hadestown Mar 13 & 14
Ford’s Theatre www.MyFords.org
1776 Mar 13 – May 16
Theatre J www.EDCJCC.org
Eureka Day Mar 11 – Apr 5
 The Two Gentlemen of Killarney via Avant Bard
Avant Bard www.AvantBard.org
Two Gentlemen of Killarney Mar 5 -28
Olney Theatre www.OlneyTheatre.org
Appropriate Mar 18 – Apr 19
Atlas Performing Arts Center www.AtlasArts.org
INTERSECTIONS Festival through Mar 15
Port Tobacco Players www.PTPlayers.com
Bright Star Mar 13 – 29
The Little Theatre of Alexandria www.TheLittleTheatre.com
Guess Who’s Coming to Dinner Mar 28 – Apr 18
NextStop Theatre Company www.NextStopTheatre.org
Guards of the Taj Mar 26 – Apr 19
 City of Angels via Colonial Players
Colonial Players www.TheColonialPlayers.org
City of Angels Mar 5 – Mar 28
Everyman Theatre www.EverymanTheatre.org
Vanya and Sonia and Masha and Spike Mar 22 – Apr 19
Pinky Swear Productions www.PinkySwear-Productions.com
The H Twins through Mar 22
ExPats Theatre www.ExPatsTheatre.com
Pressure Mar 14 – Apr 5
Laurel Mill Playhouse www.LaurelMillPlayhouse.org
By the Way, Meet Vera Stark through Mar 15
Silver Spring Stage www.SSStage.org
Coriolanus Apr 10 – Apr 12
Prince William Little Theatre at the Hylton Performing Arts Center www.PWLT.org
Head Over Heels March 13 – 22
Iconic Alvin Ailey Dance Theater Moves to the Warner Theatre Celebrating with Their Classic “Revelations” and the Premiere of a New Dance Piece Set to Avishai Cohen’s Jazz Trumpet
Warner Theatre
Jordan Wright
February 1, 2026
 Photo courtesy of Alvin Alley American Dance Theater.
A series of short dance vignettes set to inspirational music captures the essence of this renowned troupe of contemporary dancers. They are divided into sections entitled “Embrace”, “Difference Between”, “Song of the Anchorite” (a world premiere) and lastly “Revelations”. In the first series a male soloist takes the stage alternating between power moves and tenderness set to Stevie Wonder’s tender ballad, “Never Dreamed You’d Leave in Summer”. Balletomanes and, more specifically, Ailey fans are hyper-energized and, no matter where you are sitting in this opulent Neo-Renaissance theater, you can sense their shared excitement building.
Etta James haunting song, “At Last” follows. Performed by four males along with four female partners and a mesmerizing female dancer in a silky bright yellow dress who takes center stage on a raised wooden platform. These platforms will be used in a myriad of ways throughout the vignettes as the dancers configure them to reflect each unique piece.
Pink’s track “What About Us” becomes the background music for a piece about feeling unheard and personal isolation. It is a large ensemble piece that starts off with two males challenging each other to fight, seeming to search for the boundaries of their manhood, while the others endeavor to support them.
In the next piece, Ed Sheeran’s “Photograph” becomes the backdrop music for a haunting dance of desire and remembrance that put me in mind of the upcoming Winter Olympics and the ice dancing teams who perform similarly elegant and daring lifts.
Des’ree’s “I’m Kissing You” is a romantic ensemble piece featuring two lovers in a pas de deux that captures the essence of passionate unrequited love.
 Artistic Director Alicia Graf Mack with members of the Company. (Photo/Andrew Eccles)
With Blackberry Smoke’s “One Horse Town” the theme echoes the familiar dilemma of young people aspiring to become more than their heritage and small town affords them. The final introductory piece is a powerful evocative solo by a principal dancer performed against a backdrop of Avishai Cohen’s sultry Jazz trumpet to bring down the house.
In all these pieces the troupe’s free-flowing, elegant, deeply expressive movements captivate. Signature positions such as wide-spread legs in deep pliés, hands flung backwards Egyptian style, coupled with their sensuous, serpentine bodies and awe-inspiring athleticism, all define the company’s ethos.
After the second and final intermission (I’m envisioning the dancers plunging into in ice baths), the ensemble’s iconic masterpiece “Revelations” is performed. Audiences know and love this dance which premiered in 1960 and reflects the life and times of Ailey himself. Its themes of African American heritage and culture resonate through the familiar struggles and challenges of the period.
Set to gospel choir music, familiar spirituals and Southern blues, this extraordinary and identifiable piece explodes with high-powered praise dancing and ground-breaking interpretive movement. A curated trove of traditional songs serves to emphasize the mood from historic struggles to hopefulness. A sassy, Caribbean-influenced opening beat leads to its crescendo in the beautiful strains of “Wade in the Water”, “I Want to be Ready”, “Sinner Man”, and “Rocka My Soul in the Bosom of Abraham”.
Moving and exhilarating in beauty, excellence and spirit. Highly recommended!
Through February 8th at the Warner Theatre, 513 13th Street, NW, Washington, DC 20004. For tickets and information visit www.WarnerTheatreDC.com and www.TicketMaster.com
Synetic Theater’s Sensational Creativity, Outstanding Acting and Stunning Production Put Shakespeare’s Antony & Cleopatra at the Top of My List
Antony & Cleopatra
Synetic Theatre
Jordan Wright
January 12, 2026
 Irina Kavsadze (Cleopatra) and Vato Tsikurishvili (Anthony) in Anthony & Cleopatra at Synetic Theatre. (Photo/Katerina Kato)
For those of you who have never experienced a Synetic Theatre production, I mourn. I call it an ‘experience’ because, how else to describe their unique performance style and silent Shakespeare productions. A mantles’ worth of Helen Hayes Awards proves their massive success with their originality, extraordinary athleticism and jaw-dropping creativity putting them above all others in their fierce approach to mold-smashing, innovative theatre.
A visionary troupe with roots in the Republic of Georgia, performers are extensively trained in stage combat, acrobatics, acting, modern and classical dance, and mime for months at a time before premiering each production. In this staging of Antony & Cleopatra, first performed at the Lansburgh Theatre (now the Klein) over a decade ago, many of the original troupe members appear. However, one performer, Irina Kavsadze, a cousin of co-founder, Paata Tsikurisvili, has come all the way from Georgia to take the lead role of Cleopatra. Irina is so outstanding, so mesmerizing, so extraordinary, that her performance warrants singular attention, yet doesn’t subtract from the rest of this crack ensemble to include the pantomime legend, Vato Tsikurishvili in the role of Antony, and Stella Bunch as the very intriguing, sinuous eunuch, Mardian, a sphinx-like trickster who serves as Cleopatra’s confidant.
The story follows what you may recall from the 1963 film starring Elizabeth Taylor and Richard Burton – or one of the many other Shakespeare productions of this classic. But I promise you won’t have seen anything as thrilling, as contemporary, or as brilliantly interpretive a production… unless, of course, you saw the original performed at the Lansburgh in 2006. I did.
Scenic Designer Anastasia Ryurikov Simes’ massive golden pyramid with steps leading up to the throne’s pinnacle sets the stage for the story to unfold when the divine seductress Cleopatra faces off against her scheming brother Ptolemy (Natan Maël Gray). In this civil war the siblings battle each other for their right to Egypt’s throne while engaging with the opposing warriors. Swords clash and actual sparks fly, lighting up the stage, as metal meets metal and Ptolemy’s gains the throne.
 Tony Amante (Ensembler), Joshua Cole Lucas (Ensembler), Liam Klopfenstein (Ensembler), Vato Tsikurishvili (Antony), Natan Maël-Gray (Ensemble), Ernest Fleischer (Ensemble), and Rodin Alcerro (Ensemble). (Photo/Katerina Kato)
At last Caesar and his formidable army comes to her aid and she reclaims the throne. Later the dashing Marc Antony kills Ptolemy and Rome’s power reshapes Egypt with the SPQR emblem surrounded by laurel wreath proudly featured. The troupe’s stage fighting skills are very much on display as the throne repeatedly changes hands. Soldiers, guards and cronies clad in shiny metal-studded breastplates, leather strapping and flowing red satin capes have at it in a display of wild pugilistic drama and gasp-worthy acrobatics of which there is plenty to see here.
As power changes hands, large regional maps are conjoined and reconfigured to reflect the changing rulers as Marc Antony returns to wrest the throne. Of course, that’s not the end of it. “Uneasy lies the head that wears the crown,” from Shakespeare’s King Henry IV came to mind. It’s very challenging to hang on to an entire country for long, as you may have noticed lately. Octavion (Philip Fletcher) soon returns with his own nefarious plot to steal the throne. Look for poison and passion (Remember the killer asp?) and definitely read the synopsis to figure out who’s who as the throne is taken, retaken and stolen and characters die in the process. And you’ll never guess who ends up as ruler. I told you it was exciting.
Inserting the sensual belly dancing harem is quite clever, leaving the fighting to subside when there’s a celebratory bacchanal at hand and a comical sex scene between Cleo and Antony with heads, arms and legs akimbo jutting out behind a short wall. But wait! Jealousy rears its ugly head and the fighting resumes. I won’t reveal anything more or this review would take an encyclopedia of scenic descriptions. You’re on your own now. Enjoy it to the fullest.
 Stella Bunch (Mardian) and Irina Kavsadze (Cleopatra). (Photo/Katerina Kato)
Highly recommended! A must see!
With Zana Gankhuyag as Enobarbus; Tony Amante as Caesar; Nantan-Maēl Gray as Ptolomy; Maryam Najafzada as Octavia; Rodin Alcerro as Pompey; Ernest Fleischer as Brutus; Joshua Cole Lucas as Cassius; Liam Klopfenstein as Messenger; and Magdelen Rose Cammaroto, Kaitlyn Shifflett and Morgan Taylor in the Ensemble.
The always brilliant choreography by Synetic Co-founder, Irina Tsikurishvili; outstanding Costume Design by Erik Teague with Assistant Costume Designer Anya Peregrino; Original Scenic Design by Anastasia Ryurikov Simes; Original Fight Choreography by Ben Cunis; Remount Fight Choreography by Vato Tsikurishvili; Resident Dramaturg/Adaptor Nathan Weinberger; Resident Composer/Sound Design Koki Lortkipanidze who sets the mood with Irakli Kavsadze using electronica, sound FX and classical music; superb Lighting Design by Colin K. Bills.
Through January 25th at Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.SyneticTheater.org.
What’s Onstage in the DMV February/Early March 2026
Jordan Wright
January 10, 2026
 The First National Tour Cast of Stereophonic. (Photo/Julieta Cervantes)
Broadway at The National www.BroadwayattheNational.com
Stereophonic Feb 10 – Mar 8
The Simon and Garfunkel Story Mar 14 and Mar 15 only
Disney’s Beauty and the Beast Mar 18 – Apr 5
Signature Theatre www.SigTheatre.org
I’m Here: Black Broadway Feb 24 – Mar 15
Safety Not Guaranteed Mar 3 – Apr 12
MetroStage at the Lyceum www.MetroStage.org
Roots & Reverence: The Spirituals That Shaped America Feb 23 only
Workhouse Arts Center www.WorkhouseArts.org/theater-performances
Murder on the Orient Express Mar 6 – April 12
Folger Theatre www.Folger.edu
As You Like It Mar 10 – Apr 12
 Hamnet via Shakespeare Theatre Company
Shakespeare Theatre Company www.ShakespeareTheatre.org
On Beckett Feb 11 – Mar 15
Hamnet Mar 17 – Apr 12
Avant Bard www.AvantBard.org
Two Gentlemen of Killarney Mar 5 – 28
Theatre J www.EDCJCC.org
The World to Come Feb 3 – Mar 1
Eureka Day Mar 11 – April 5
Atlas Performing Arts Center www.AtlasArts.org
INTERSECTIONS Festival Feb 14 – Mar 15
NextStop Theatre Company www.NextStopTheatre.org
Drowner [Renword] through Feb 22
 Little Miss Perfect via Olney Theatre
Olney Theatre www.OlneyTheatre.org
Little Miss Perfect Feb 8 – Mar 8
Appropriate Mar 13 – Apr 19
Studio Theatre www.StudioTheatre.org
Octet through Feb 22
GALA Theatre www.GALATheatre.org
La Casa de Bernarda Alba – The House of Bernarda Alba Feb 5 – Mar 1
Imagination Stage www.ImaginationStage.org
Balloonacy through Feb 15
Havana Hop Feb 14 – Mar 7
Adventure Theatre MTC www.My.AdventureTheatre-MTC.org
Freckleface Strawberry Pajama Party: The Musical Feb 12 – Mar 29
 1776 via Ford’s Theatre (Artwork created from photos by Scott Suchman)
Ford’s Theatre www.MyFords.org
1776 Mar 13 – May 16
Arena Stage www.ArenaStage.org
Chez Joey through Mar 15
Inherit the Wind Feb 27 – April 5
1st Stage www.1stStage.org
Between Riverside and Crazy Feb 19 – Mar 8
Washington Stage Guild www.StageGuild.org
Happy Days through Feb 26
Woolly Mammoth Theatre Company www.WoollyMammoth.net
The World to Come through Mar 1
 Rock of Ages via Toby’s Dinner Theatre
Toby’s Dinner Theatre www.TobysDinnerTheatre.com
Rock of Ages through Mar 15
Round House Theatre www.RoundHouseTheatre.org
Nothing Up My Sleeve Feb 11 – Mar 15
Dominion Stage www.DominionStage.org
Xanadu through Feb 14
Creative Cauldron www.CreativeCauldron.org
Snapshots: A Musical Scrapbook Feb 12 – Mar 8
Twelve Dancing Princesses Mar 13 – 29
Compass Rose Theatre www.CompassRoseTheater.org
Rent Feb 6 – Mar 8
 Back to the Future via Baltimore Broadway
Hippodrome Baltimore www.Baltimore.Broadway.com
Back to the Future Feb 14 – Mar 1
Hadestown Mar 13 and 14
Everyman Theatre www.EverymanTheatre.org
Dawn through Mar 1
Damascus Theatre Company www.DamascusTheatre.org
Company Feb 6 – 22
Little Theatre of Alexandria www.TheLittleTheatre.com
School of Rock Feb 7 – 28
Perisphere Theater www.PerisphereTheater.com
Silent Sky through Feb 14
Keegan Theatre www.KeeganTheatre.com
John Doe through Feb 22
Midiculous Feb 24 – Mar 8
 Tambo & Bones via Spooky Action Theatre
Spooky Action Theatre www.SpookyAction.org
Tambo & Bones Feb 12 – Mar 8
The Welders www.TheConservatory.com
Cake Eaters Feb 5 – Feb 22
Arlington Players www.ArlingtonPlayers.org
Peter and the Starcatcher through Feb 15
Providence Players of Fairfax www.ProvidencePlayers.org
Crimes of the Heart Mar 13 – 22
Maryland Ensemble Theatre www.MarylandEnsemble.org
Small Mouth Sounds Feb 13 – Mar 15
|
