Beetlejuice – The Musical Brings the Crazy Amazing World of the Dearly Departed to National Theatre
Beetlejuice – The Musical
The National Theatre
Jordan Wright
July 8, 2026
 David Wilson (Adam), Kaitlin Feely (Barbara), Leianna Weaver (Lydia) and Ryan Stajmiger (Beetlejuice) in Bettlejuice -The Musical (Photo/Matthew Murphy).
Backstory: After a brief tryout here at the National Theatre in 2018, Beetlejuice headed to Broadway and the famed Winter Garden Theatre in 2019. The show had less than a year’s run before the pandemic hit shutting down all productions in early 2020. Nominated for eight Tony Awards in nearly every category and garnering a win for “Outstanding Set Design”, it proved to be a huge success. Luckily for us it’s back in town after a 2023 DC booking at the National Theatre and killin’ it. All that goes to say that the audience, some garbed in the black-and-white stripes favored by Beetlejuice, consisted of legions of fans of the quirky-cool story with its rock concert vibe.
Reality: It’s a show about death and the newly dead – in the best possible way, I promise – with an utterly irreverent script, electrifying rock music and hilarious lyrics fronted by a tremendously talented cast of singers and dancers, a blazing rock band and dazzling light show. Be prepared to embrace the far side. Can you love the living dead? They’ll prove you can and will.
 Ryan Stajmiger (Beetlejuice) and Beetlejuice North American Touring Company (Photo/Matthew Murphy).
The cast in this show is wonderful and totally in sync. From lead demon, Beetlejuice, played to the hilt and heavy on vaudevillian schtick by veteran improv comedian and rock singer, Ryan Stajmiger, to the breathtaking vocals of newcomer Leianna Weaver who plays young Lydia, the Goth-garbed daughter grieving the untimely death of her mother. Weaver has a stunning powerhouse voice tempered by an adorable sweetness that left me and my plus-one wide-eyed in its wake. Chills and thrills.
Picture a young couple, Barbara (Kaitlin Feely) and Adam (David Wilson) living in a decaying Victorian house longing for a child yet consumed with their individual hobbies. In an unfortunate incident in the dark of night, they accidently electrocute themselves and are banished to the netherworld. Beetlejuice, who is “dying” to return amongst the living, needs someone to say his name three times. He cajoles the couple into haunting their old house, so he can con the new homeowners. To accomplish his nefarious ends, this slippery, double-crossing, gravelly-voiced specter unleashes a crazy amazing world of pandemonium filled with dancing skeletons and singing zombies. Enter Delia (the delightful, scene-stealing Bailey Frankenberg), a guru-loving seductress accompanied by her business-obsessed lover and father of Lydia, Charles (Jeff Brooks), who buy the now-haunted house where Barbara and Adam have been studying “The Handbook for the Recently Deceased” and preparing to pounce on the unsuspecting trio with ghoulish abandon.
One of the funniest, most energetic, wonderfully choreographed shows and high praise for the endearingly creepy characters – this reviewer has ever seen. Schtick rules! And so does a healthy dose of political quips and topical humor. A huge cast propelled by a kick-ass band and rock star voices send this musical beyond the beyond.
 Leianna Weaver (Lydia), Jeff Brooks (Charles), and Beetlejuice North American Touring Company (Photo/Evan Zimmerman for MurphyMade).
If I published all the bios of cast and crew, you would have a star-studded list of some of the best-known Broadway performers and designers, most notably Director Alex Timbers (Moulin Rouge!); Original Score by Eddie Perfect (King Kong); with Book by Scott Brown (Castle Rock) and Anthony King (Robbie); Choreography by Connor Gallagher (The Robber Bridegroom, Moana, Titanic); David Korins (Scenic Designer on Hamilton); Six-time Tony Award-winning Costume Designer William Ivey Long; Lighting Design by Tony Award winner Kenneth Posner (Kinky Boots, Wicked); with Sound Design by Peter Hylenski (Moulin Rouge!, Frozen); the fabulous projection design of Peter Nigrini (Dear Evan Hansen, Hell’s Kitchen, MJ); Puppet Design by Michael Curry (The Lion King, Cirque du Soleil); and Special Effects Design by Jeremy Chernick (Harry Potter and the Cursed Child, Hadestown)… to name but a handful of this extraordinary creative team.
With Dan Mason as Priest/Census Taker; Alessandra Casanova as Miss Argentina played by Carly Natania Grossman on opening night; Mai Caslowitz as Girl Scout; Da’Zaria Harris as Juno; Dan Mason as Otho; a 13-person ensemble and 7-person orchestra with searing synthesizers.
Drop dead fabulous! Snag your tickets while you can!
Through July 19, 2026 at The National Theatre, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information call the box office at 202.628.6161 or visit https://www.broadwayatthenational.com/BroadwayAtTheNational.com
Arena Stage’s World Premiere of CrazySexyCool – The TLC Musical is the Hottest Show in Town!
CrazySexyCool – The TLC Musical
Arena Stage
Jordan Wright
June 29, 2026
 Jade Milan (Lisa ‘Left Eye’ Lopes), Stoney B. Woods (Rozonda ‘Chilli’ Thomas), and Holli’ Gabrielle Conway (Tionne ‘T-Boz’ Watkins) in CrazySexyCool – The TLC Musical at Arena Stage at the Mead Center for American Theater (Photo/Julieta Cervantes).
In the early 1990’s when male stars like MC Hammer (Christopher Henry Young) ruled the airwaves, an unlikely trio blazing with talent, attitude and sisterhood launched their girl group into the stratosphere. Eponymously named after their 1994 record-breaking album, CrazySexyCool – The TLC Musical is an emotionally lit bio musical about the lives and times of TLC, three young women whom fate brought together, lights up the stage in this world premiere musical.
Led by their manager, Christina (Felicia Curry), the East Atlanta trio continued to set the nascent hip-hop world on fire with their “Hat 2 da Back”, baggy boyish streetwear, pure harmonies and cheeky attitudes. Grammys and a host of top music awards followed their platinum-selling singles and albums as their styles and music choices continued to evolve into ever steamier, ever raunchier lyrics. Promoting girl power and safe sex in the days of HIV, these super music influencers and pop pioneers hit the airwaves like a typhoon.
 Holli’ Gabrielle Conway (Tionne ‘T-Boz’ Watkins), Jade Milan (Lisa ‘Left Eye’ Lopes), and Stoney B. Woods (Rozonda ‘Chilli’ Thomas) (Photo/Julieta Cervantes).
CrazySexyCool showcases the complicated personal lives and pioneering style successes of Tionne ‘T-Boz’ Watkins (Holli’ Gabrielle Conway), Lisa ‘Left-Eye’ Lopes (Jade Milan) and Rozonda ‘Chilli’ Thomas (Stoney B. Woods) in this blockbuster musical hoping for a Broadway debut. Promoted by MC Hammer after they crash his recording studio staging a rap battle, they begin their rocket ride to stardom. Left-Eye’s crusty attitude towards Blake Thomas (Josh A. Dawson), a major Atlanta pop music broadcaster, nearly derails their meteoric rise with trumped up slander against the girls. Happily, their avid fan base supersedes Blake’s vindictive tactics, and they get their career back on track. Through cheating boyfriends, personal struggles, drama and pathos, the intensity of touring, thieving agents and the death of Lisa Lopes while on a soul-searching mission in Guyana, the women prove that sisterhood and music can overcome all of life’s obstacles.
Twenty-six numbers include many of their biggest hits like “Creep”, “Perfect Girls”, “Waterfalls” and “Unpretty” and the powerhouse “Dance Again”, a moving spiritual sung by Chilli and the Ensemble.
 Stoney B. Woods (Rozonda ‘Chilli’ Thomas), Jade Milan (Lisa ‘Left Eye’ Lopes), Holli’ Gabrielle Conway (Tionne ‘T-Boz’ Watkins), and the company of CrazySexyCool – The TLC Musical (Photo/Julieta Cervantes).
Speaking of the ensemble, the singers and dancers are absolutely, freakin’, jaw-dropping phenomenal!!! Tearing up the stage with eye-popping talent, hard bodies and heart-stopping endurance, the dancers and Chloe O. Davis’s choreography will take your breath away. Huge, huge, huge props to writer and director Kwame Kwei-Armah for shepherding this massive musical to the stage as well as the dozens of creatives involved in seeing it to fruition.
This show is lit! Highly recommended!!!
With Felicia Curry in dual roles as Christina and Dr. Nzinga; Ciara Alyse Harris as Rikara/Ensemble; Trenton McKenzie Beavers as Tommy/Ensemble; Darius Jordan Lee as Michael/Ensemble; Malik Shabazz Kitchen as Kavonne/Ensemble; Aaron Bliden as Danny/Ensemble; Deon’te Goodman as Rain/Ensemble; Nichole Forde, Ensemble; Bethany Hemmans, Ensemble; Kennedy Holmes, Ensemble; Lindsey Jolyn Jackson, Ensemble and Dance Captain; Madison McBride, Ensemble.
Huge props to Dramaturg Hana S. Sharif, Hair and Wig Designer, Nikiya Mathis, Costume Designer Dede Ayite, Lighting Designer Japhy Weideman and Set Designer David Zinn with a blazing orchestra led by Jaret Landon.
Through August 9th at Arena Stage, 1101 Sixth Street, NW, Washington DC 20024. For tickets and information call the box office at 202.488.3300 or visit www.ArenaStage.org.
Signature Theatre’s Pippin Brings Medieval Swagger with Sassy Steampunk, Magical Illusions and Steamy Burlesque
Pippin
Signature Theatre
Jordan Wright
June 22, 2026
 Cedric Neal (Leading Player) and the cast of Pippin at Signature Theatre (Photo/Daniel Rader).
Oh, Pippin, you adorable, self-entitled, properly Paduan University-educated idealist! What a wild, oft catastrophic, medieval adventure you take us on!
Prince Pippin has friends, but mostly he takes his cues from “Leading Player”, a character so entirely magical, and yet insistently believable, in a most demanding way. Where the odd couple goes, we go, in company with a fantastical and hyper-sexual coterie of “Players”, as they’re referred to in the cast list. The Players will steal your heart, but they are not to be trusted. They are unpredictable spirits, though they ultimately kowtow to Leading Player and will trot off with their tails between their legs when chastised.
Pippin has arrived home after his studies to greet his father, the autocratic King Charlemagne aka Charles, his voluptuous mother Queen Fastrada, and his super macho, entirely witless half-brother Lewis who prefers to slay the Visigoths with the encouragement of his beloved mother.
 Brayden Bambino (Pippin), Hank von Kolnitz (Player), Calvin L’mont Cooper (Player), and Ben Bogen (Player) (Photo/Daniel Rader).
“I’m going to live a life that’s extraordinary… and completely fulfilling,” Pippin announces ingenuously with the song, “Corner of the Sky”, one of composer and lyricist Stephen Schwartz’s most memorable and frequently covered songs. Determined to find his niche without his overbearing father, he murders him, (which thankfully for the character and the audience is only temporary as the king is later resurrected) and takes over the country, vowing to end all wars, tax the rich and gift land to the serfs. Very noble, you’d say. But the aristocracy revolts, countries invade, sack and pillage and our sweet, disillusioned Pippin realizes he’s not cut out for such things as ruling the country. And after a brief stint as a soldier, involving slaughter and mayhem and a disembodied talking head, off he scurries off to the countryside where amid pastoral joys he meets a fair maiden, Catherine, her little boy, Theo, and finds his free-wheeling grandmother, Berthe, whose sage advice comes via the song “No Time At All”.
There Pippin is introduced to an orgiastic lifestyle by Berthe and the Players. The musical Hair popped into my head, though that was far tamer than this hyper-erotic approach to free love as portrayed by the Players cavorting in every imaginable coupling. Pippin, ever the seeker, tries all the combinations and is left bereft. “It wasn’t fulfilling,” he declares.
I have to say, in the end, I was left disappointed by Pippin in his campaign to find himself. He caved far too quickly when he was king, conceded too readily to his scheming mother and took the easy way out by killing off his challengers.
 Naomi Jacobson (Berthe) and Brayden Bambino (Pippin) with the cast of Pippin (Daniel Rader).
What you will take away is a razzle-dazzle, helluva show with 14 wonderful musical numbers, terrific performances by all, powerhouse voices backed by a 12-piece orchestra, stage magic, comic highs, burlesque, and quirky characters who absolutely slay costumed in Victorian Steampunk lace and leather living la vida loca and dancing their tailfeathers off on a glassy circular stage… in France! Did I mention the duck? Holy wow!!!
Go! Have fun!!!
With Cedric Neal as Leading Player; Brayden Bambino as Pippin, Eric Hissom as Charles (King Charlemagne); Maria Rizzo as Fastrada; Ryan Sellers as Lewis; Naomi Jacobson as Berthe; Awa Sal Secka as Catherine; and Ellison Bihm as Theo.
The Players: Ben Bogen, Calvin L’mont Cooper, Candice Hatakeyama, Georgia Monroe (Dance Captain), Alanna Sibrián, Jacob Taylor Starks, Emily Steinhardt and Hank von Kulnitz.
Book by Roger O. Hirson; Music and Lyrics by Stephen Schwartz; Originally Directed and Choreographed on Broadway by Bob Fosse; Directed by Matthew Gardiner; Choreographed by Rachel Leigh Dolan; Music Direction by Jon Kalbfleisch; Scenic Design by Christopher & Justin Swader; Costume Design by Eric Teague; Lighting Design by Adam Honoré; Wig Design by Anne Nesmith; Sound Design by Eric Norris; Fight Choreography by Casey Kaleba; Intimacy Choreography by Chelsea Pace; Illusions Consultant and Fight Captain Ryan Sellers.
Through July 26th at Signature Theatre, Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Suffs Brings the Must-See Story of the Suffragists Struggles to Get the Vote for Women to The National Theatre with a Tony Award-Winning Score and a Brilliant Cast
Suffs
Broadway at The National
Jordan Wright
June 20, 2026
 Monica Tulia Ramirez (Inez Milholland) and company in the First National Touring Company of SUFFS (Photo/Joan Marcus).
Some women of today do not know the struggles our grandmothers and great-grandmothers went through to get the right to vote. Suffs is a captivating musical that tells the story of the selfless women who pleaded, protested, marched, starved, and literally put their lives on the line to achieve parity in the American voting booth. And it’s all set in Washington, DC.
The story seems drawn from a galaxy far, far away – but it isn’t. Suffs opens in 1913 with a group of suffragists headed by the formidable Carrie Chapman Catt, who led a movement of well-coiffed and genteel ladies who spent years seeking a meeting with President Woodrow Wilson and decades trying politely to present their case. Despite his refusal to meet, the ladies continue in their quest by selling doughnuts and holding ladylike tea parties in fancy dresses. They’ve been trying to get the vote for 60 years – yes, you read that right – with zero success, when along comes young Swarthmore graduate Alice Paul, an inspired, take-no-prisoners, all-or-nothing activist to shake things up. (And please, the correct terminology is suffragists, not suffragettes. They deplore the cutesy -ette ending.)
Alice soon breaks ranks with Carrie and forms her own organization bringing in a deeply committed and radical group of women activists – women unafraid to make personal sacrifices to the cause. Alice conceives of a massive women’s march on Washington to include Ida B. Wells, a co-founder of the NAACP and advocate for African American women, and Mary Church Terrell, Well’s cohort, two formidable African American women who had been sidelined by Carrie Catt. The historic march of 200,000 women from around the United States is led by a shield-carrying, helmet-wearing Inez Milholland, a labor lawyer and socialite, riding atop a magnificent white steed.
 Joyce Meimei Zheng (Ruza Wenclawska) and the the First National Touring Company of SUFFS (Photo/Joan Marcus).
The musical stars an impressive cast of actors portraying the most influential women activists of the century and gifts us with 33 powerhouse numbers – some stirring, others with a comical touch, especially in the sweet number with Doris Stevens, the organization’s young secretary and Dudley Malone, Wilson’s administrative aide who becomes her ally. The two fall in love despite their differences sealing their commitment with the tune. “If We Were Married”.
Women eventually got the right to vote in 1920, but you may not know about the ongoing struggles to achieve parity for women in all aspects of American life. Women are still waiting for the Equal Rights Amendment to be ratified! These early fights are truly an eye-opener delivered with both brio and aplomb by the show’s brilliant creatives and this tremendous cast.
If you have ever had to fight for your rights, marched to be heard, been sidelined as a woman, or want to teach your children and grandchildren what women went through to achieve the vote, this show is a must see. I can report that the audience of young, old, women, children, and men too, went wild with every song and every joke. This 2024 Tony Award-winning “Best Book of a Musical” and “Best Original Score”, both won by Shaina Taub, offers a history lesson cleverly presented with humor, pathos, vigor and a Broadway-worthy cast.
 Marya Grandy (Carrie Chapman Catt) and the First National Touring Company of SUFFS (Photo/Joan Marcus).
The all-female cast features Marya Grandy as Carrie Chapman Catt; Maya Keleher as Alice Paul; Livvy Marcus as Doris Stevens; Brandi Porter as Dudley Malone; Monica Tulia Ramirez as Inez Milholland; Danyel Fulton as Ida B. Wells; Gwynne Wood as Lucy Burns; Joyce Meimei Zheng as Ruza Wenclawska; Victoria Pekel as Phyllis Terrell/Robin; Trisha Jeffrey as Mary Church Terrell; Laura Stracko as Alva Belmont/Phoebe Burn; Tami Dahbura as Mollie Hay; Jenny Ashman as President Woodrow Wilson; Anna Bakun as Speaker of the House; Jenna Lea Rosen, Ensemble/Major Sylvester/Senator Burn; and Gretchen Shope, Ensemble/Mrs. Herndon.
Directed by Leigh Silverman; Book, Music & Lyrics by Shaina Taub; Choreography by Mayte Natalio; Music Supervisor, Andrea Grody; Original Broadway Scenic Design by Ricardo Hernandez; Tour Scenic Design by Christine Peters; Music Director Dani Lee Hutch; Costume Design by Paul Tazewell; Lighting Design by Lap Chi Chu; Makeup Design by Joe Dulude II; Sound Design by Jason Crystal; Hair & Wig Design by Charles G. LaPointe; Orchestrations by Michael Starobin; Vocal Arrangements by Shaina Taub & Andrea Grody.
Through June 28th at The National Theatre DC, 1321 Pennsylvania Avenue, NW, Washington, DC 20004. For tickets and information call the box office at 202.628.6161 or visit www.BroadwayatTheNational.com.
A Riveting and Relevant Reimagining of Othello Starring Wendell Pierce and Directed by Simon Godwin at STC’s Harman Hall
Othello
Shakespeare Theatre Company
Jordan Wright
June 16, 2026
 Ben Turner (Iago) and Wendell Pierce (Othello) in Othello at Shakespeare Theatre Company (Photo/Teresa Castracane).
Iago to Othello, “O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on.”
A modern reimagining of Shakespeare’s Othello by Director Simon Godwin puts us smack dab in contemporary bro culture with camo-clad soldiers hell bent on waging war and throwing shade on women. We watch helpless as Iago, the duplicitous deceiver and his bosom buddy Rodrigo, cook up an intricate plot to bring down their general Othello, the Moor and former slave. Unbeknownst to the hapless Rodrigo, the lieutenant Cassio and his paramour Bianca, they are all being set up by Iago. In fact, no one is spared in Iago’s quest to discredit Othello as he uses both the women and the men in his murderous quest.
Leaning into today’s incel zeitgeist, Iago conscripts these chest-thumping cluster of jarheads to do his bidding as he manipulates Othello with outright lies and flattery convincing the general that his beloved wife Desdemona is cheating on him. A purloined ladies’ handkerchief is all it takes to consummate Iago’s power grab – setting up Othello’s jealous rage and murder of his beloved, and truly chaste bride.
The length and breadth of who, what and how Iago subverts to undermine his superior is incontestably Machiavellian. Plots and subplots undermine friendships and question marital devotion until we are left to wonder why the hell Iago’s wife Emilia won’t spill the beans about her husband Iago’s nefarious plot and tell Desdemona the truth before the horrific slaughter of the two women.
 The cast of Othello (Photo/Teresa Castracane).
Wendell Pierce was made to play this role. His character portrayals in edgy dramas have proven undeniably riveting – Death of a Salesman, Treme, The Wire, Clybourne Park and so many more power roles in film, TV and onstage. His performance here is the glue that cements the entire cast.
Heavy metal music ushers in many of the scenes and the soundscape of armies at war creates the modern military ethos. Paired with Godwin’s crisp staging, it contributes to the overall effect, and I couldn’t help but reflect on aspects of our current state of political drama – its subterfuge, hegemony and flouting of established law to achieve power and control. Oh, Iago, how clearly we see you and your victims in our daily news feed.
Godwin loves to paint scenes with ghastly amounts of gore and, if you’re a fan of crime drama whose fascination by the American public is just as popular today as it was to the audiences of classic playwrights, you won’t want to miss a beat in this reimagining of the classic tale.
Relevant and riveting.
 Olivia Cygan (Desdemona) and Wendell Pierce (Othello) (Photo/Teresa Castracane).
Starring Wendell Pierce as Othello with Ben Turner as Iago; Olivia Cygan as Desdemona; Lucas Iverson as, Cassio; Daniel Velez as Roderigo; Giovanna Drummond as Bianca; Melanie Field as Emilia; Todd Scofield as Duke of Venice; Derek Garza as Montano/Senator Romano; Joey Collins as Brabantio/Salarino.
Ensemble: Jon Beal, C. J. Craig, Sofia Hernandez Morales, Claire Hilton, Anna Marzullo, Vish Shukla, Cole Sitilides, James Whelan and Em Whitworth.
Scenic & Co-Costume Design by Susan Hilferty with Co-Costume Designer Sarita P. Fellows; Lighting Design by Amith A. Chandrashaker; Sound Design by Christopher Shutt; Composer Shiloh Coke; Fight Choreographer Robb Hunter; Fight Captain Jon Beal; and Dramaturg Drew Lichtenberg.
Through June 28th at Harman Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.
What’s Onstage in the DMV for July and Early August 2026
Jordan Wright
June 16, 2026
 Cedric Neal (Leading Player) and the cast of Pippin at Signature Theatre (Photo/Daniel Rader)
Signature Theatre www.SigTheatre.org
Pippin through Jul 26
What Became of Us through Jul 26
Play On Aug 12 – Oct 5
Contemporary American Theatre Festival 2026 Season Shepherdstown, WVA Jul 10 – Aug 2 www.CATF.org
Shakespeare Theatre Company www.ShakespeareTheatre.org
Twelfth Night (in repertory) Jul 15 – Jul 25
Macbeth (in repertory) Jul 16 – Jul 25
The Little Theatre of Alexandria www.TheLittleTheatre.com
Catch Me If You Can Jul 17 – Aug 8
Adventure Theatre MTC www.My.AdventureTheatre-MTC.org
Sleeping Beauty: The Time Traveler through Aug 23
 Beetlejuice via Broadway at the National (Photo/Michelle Grace Hunder)
Broadway at the National www.BoxOfficeTicketSales.com
Beetlejuice Jul 7 – Jul 19
The Notebook: The Musical (DC premiere) Aug 8 – Aug 30
Woolly Mammoth www.WoollyMammoth.net
We The Woolly: Remixing 25 Jul 1 – 31
Dead Inside Jul 9 – Aug 3
Arena Stage www.ArenaStage.org
CrazySexyCool – The TLC Musical through Aug 9
Dominion Stage www.DominionStage.org
First Date – The Musical Jul 17 – Jul 25
MetroStage www.MetroStage.org
Celebrating America’s 250th in Song one night only July 27
 Legally Blonde: The Musical via Port Tobacco Players
Port Tobacco Players www.PTPlayers.com
Legally Blonde: The Musical Jul 10 – Aug 2
Faction of Fools www.FactionofFools.org
Leftover Lazzi: A Commedia Cabaret Jul 23 – Aug 3
Actors Theatre at the ARTfactory www.VirginiaArtFactory
Beyond Therapy Jul 24 – Aug 2
Keegan Theatre www.KeeganTheatre.com
The Play That Goes Wrong through Jul 12
The Puppet Company www.ThePuppetCompany.org
The Three Billy Goats Gruff Jul 11 – Aug 10
 Mean Girls via Toby’s Dinner Theatre
Toby’s Dinner Theatre www.TobysDinnerTheatre.com
Mean Girls through Aug 23
Olney Theater Center www.OlneyTheatre.org
A Gentleman’s Guide to Love and Murder Jul 2 – Aug 23
Carla Hall in Please Underestimate Me through Jul 12
Imagination Stage www.ImaginationStage.org
Pete the Cat through Jul 26
McLean Community Players www.McLeanPlayers.org
1776 Jul 17 – Aug 2
1stStage Theatre www.IstStage.org
Logan Festival of Solo Performance Aug 20 – 30
 The Immigrant via Synetic Theater
Synetic Theater www.SyneticTheatre.org
The Immigrant Jul 31 – Aug 2
Round House Theatre www.RoundHouseTheatre.org
Adrift – A Medieval Wayward Folly Jul 16 – Aug 2
Creative Cauldron www.CreativeCauldron.org
Passport Music Festival – through Sept 13
Scena Theatre www.AtlasArts.my.salesforce-sites.com
No Exit by Jean-Paul Sartre through July 19
Maryland Ensemble Theater www.MarylandEnsemble.org
How to Train Your Dragon the Musical, Jr. Jul 30 – Aug 2
 The Colored Museum via Silver Spring Stage
Silver Spring Stage www.SSStage.org
The Colored Museum through Jul 19
Rorschach Theatre www.RorschachTheatre.thundertix.com/events
American Apparitions – A Psychogeographies Project through Sept 19
Compass Rose Theater www.CompassRoseTheater.org
A Midsummer Night’s Dream Jul 31 – Aug 8
Nu Sass Productions www.Nusass.com
Brönte Sister House Party Aug 14 – Sept 12
The Colonial Players www.TheColonialPlayers.org
10 Minute Play Festival Jul 17 – Jul 26
Laurel Mill Playhouse www.LaurelMillPlayhouse.org
Four Old Broads on the High Seas July 10 – Jul 19
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