Matthew Libby’s Dystopian Thriller Data at Arena Stage is Edgy, Relevant and Thought-Provoking
Data Arena Stage Jordan Wright November 12, 2024
Karan Brar (Maneesh) and Rob Yang (Wang Tao (Alex))(Photo/T. Charles Erickson Photography)
Factoid: The greatest concentration of data centers in the world are located in Northern Virginia. Eighty percent of the data center industry is located in and around Loudoun County. It is known as “Data Center Alley”.
In case you haven’t been following these news stories of late, there has been a ground swell of protest as local residents are fighting back against the proliferation of these massive buildings in their suburban neighborhoods. They are experiencing the infernal 24/7 humming heard inside their homes and are concerned about the massive electricity and water usage these operations demand.
Karan Brar (Maneesh) (Photo/T. Charles Erickson Photography)
In playwright Matthew Libby’s Data the focus is on what goes on within the walls of Athena, a predictive software company where manipulation, coverups, backstabbing and fear are rife. Inside we meet four employees, Maneesh (Karan Brar), Jonah (Stephen Cefalu, Jr.), Riley (Isabel Van Natta) and Alex (Rob Yang). Alex, a former officer in the Singapore army, leads the data analytics team. His data analytics team is considered the top dog in the company’s hierarchy. Alex wants to be able to tell his higher-ups that he has staffed his team with the finest engineers to qualify for a pending contract from Homeland Security.
Riley has been on the team for a while. For moral reasons she is fearful of what this contract wants the team to do. Maneesh is a recent hire in the company in a beginner’s program. An engineering prodigy from an immigrant family, he is being mentored by Jonah, an immature dork who is paranoid about being downsized (read: streamlining non-essential personnel) as the programs become more sophisticated. Riley wants Maneesh on the team, because she thinks he will be able to help her change the direction of this contract, which she fears is dangerous and highly intrusive. “I make the world a worse place,” she warns him, telling him how the project plans to institute a system for “immigration adjudication” which would directly affect Maneesh’s parents.
Karan Brar (Maneesh) and Stephen Cefalu, Jr. (Jonah) (Photo/T. Charles Erickson Photography)
While at university Maneesh designed a groundbreaking algorithm for predictive analysis and Alex believes it will be the catalyst to win the contract. He explains they want to source online data to learn about a “person’s heart”, all under the guise of global security. But first he wants Maneesh to understand that within Athena there is a ‘Code of Silence” that can never be broken. As a result of Alex’s manipulation, Maneesh ultimately signs an NDA to join the team. That’s the setup for this brilliantly written, super edgy and riveting drama.
Convos between these four characters are separated by interstices of electronica, the humming of massive computers processing data and tracers of florescent lights against a black screen. It’s eerie and thought-provoking. The movie, “Minority Report’ is referenced. If you know, then you know.
Isabel Van Natta (Riley) and Karan Brar (Maneesh) (Photo/T. Charles Erickson Photography)
The acting is pitch perfect and I couldn’t be more impressed by this political thriller loaded with the kind of twists and turns to keep you on the edge of your seat. Who will betray whom, who is really in control and what will it all lead to? I urge you to see this modern-day dystopian drama with echoes of Orwell’s “1984” and its themes of mass surveillance and government control. It’s a cautionary tale for our times.
Highly recommended.
Directed by Margot Bordelon, Set Design by Marsha Ginsberg, Costume Design by Beth Goldenberg, Lighting Design by Amith Chandrashaker, Sound Design by Mikaal Sulaiman, Composer Dan Kluger, and Dramaturg Otis Ramsey-Zoe.
Rob Yang (Wang Tao (Alex)) (Photo/T. Charles Erickson Photography)
Through December 15th at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 554-9066 or visit www.ArenaStage.org.
Multi-Award Winning Stage and Screen Actor John Leguizamo Wrote and Stars in The Other Americas at Arena Stage
The Other Americans Arena Stage Jordan Wright November 6, 2024
Special to The Zebra
Bradley James Tejeda (Eddie), Luna Lauren Velez (Patti), Rosa Arredondo (Norma), Rebecca Jimenez (Toni), and John Leguizamo (Nelson) (Photo/T. Charles Erickson Photography.)
Reflecting style elements of “I Love Lucy”, “American Family”, “Primo”, “One Day at a Time”, “Chico and the Man”, “Ugly Betty”, “Modern Family”, “George Lopez” and other well-loved TV sitcoms based on the Latino experience in America, The Other Americans tells a story about a humorous and dysfunctional Columbian American family struggling to achieve the ‘American Dream’ while at the same time keeping their family from falling apart. Yet, unlike many feel-good, living-in-America TV shows, this searing play reveals a far darker theme than other. It revolves around a suicidal son and a family in crisis.
Playwright, John Leguizamo is a multi-award-winning actor and playwright who has garnered more than his share of Tony, Emmy, Drama Desk, Obie and Outer Critics Circle awards. As well-known for stand-up as for his film work, often portraying gritty characters on the fringes of society, Leguizamo both wrote and stars in this world premiere family dramedy that showcases his live performance skills and film experience. In the role of Nelson, he gives us a father and jokester whose outsized ego systematically tears apart the family he most loves.
Luna Lauren Velez (Patti) and John Leguizamo (Nelson) (Photo/T. Charles Erickson Photography.)
It begins with light banter between Nelson, Eddie, Veronica and Patti. Patti is preparing a large Latino style meal to celebrate Nicky’s return home. While they await Nicky’s return, the couple tease each other playfully, bust a move to Latin and disco music and blame each other relentlessly for Nicky’s mental breakdown. We begin to see Nelson’s drinking problem, his demeaning treatment of Eddie and his domineering attitude towards Patti. Nelson owns a string of laundromats inherited from his father and the family is living a comfortable life with a just-built swimming pool in hopes of convincing competitive swimmer Nicky to stay at home.
When Nicky returns any hope of family unity collapses quickly as both Nelson and Patti act out their frustrations towards him and each other for his refusal to accept their plans for his future. Nelson pressures him to go into the laundromat biz, while Patti insists he live at home and return to his college education. However, in a flash of self-determination, Nicky declares his intent to move in with the elusive Mitzi and become a choreographer. This becomes yet another rift in an already high-stress environment, making clear clear that no one’s agency is valued in this emotionally unstable household.
Rebecca Jimenez (Toni), Rosa Arredondo (Norma), and Sarah Nina Hayon (Veronica)
Along with the intense drama of a family in financial and emotional trauma are elements of comic relief. The lines are cleverly written and deftly acted, yet this story is about a family who descends into a nobody-wins, all-out competition of sabotage and self-destruction and it’s not until the second act when Nicky’s illness is revealed. Cue a story of racism and violence.
As despicable a character as he has written for himself, Leguizamo’s performance as Nelson is extraordinary. His capacity for warp-speed morphing from caring father to domineering husband to chief manipulator and one-man insult factory is a master class in and of itself. But it can only be successful with the counterbalance of co-star Velez’s stellar performance as Patti who matches his fire, as well as Trey Santiago-Hudson’s searing star turn as Nicky.
Rebecca Jimenez (Toni) and Trey Santiago-Hudson (Nicky) (Photo/T. Charles Erickson Photography.)
Thanks to the brilliance of famed director Ruben Santiago-Hudson this broadly complex American tragedy comes to life only to echo the destructive human conflicts that seem never to be resolved. What serves to temper the drama is Patti’s actual cooking, done onstage with accompanying aromas thanks to Arnulfo Maldonado’s brilliant set design of a functioning kitchen + living room + bedroom + outdoor swimming pool – all enhanced by Simon Adrian’s and Kayla Prough’s props.
Destined to be an American classic.
John Leguizamo (Nelson) and Luna Lauren Velez (Patti) (Photo/T. Charles Erickson Photography.)
Associate Director Timothy Johnson; Dramaturg Jack Moore; Costumes by Kara Harmon; Lighting Design by Jen Schriever; Sound Design by Justin Ellington; Original Music by Ricky Gonzalez; Hair Design by LaShawn Melton; Fight Director, Thomas Schall; and Intimacy Coordinator, Ann C. James.
Through November 24th at Arena Stage on the Fichandler Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 488-3300 or visit www.ArenaStage.org.
A Visit to Jaja’s African Hair Braiding Salon Brings Non-Stop Hilarity at Arena Stage
Jaja’s African Hair Braiding Arena Stage Jordan Wright September 13, 2024 Special to The Zebra
Bisserat Tseggai (Miriam) and Mia Ellis (Jennifer) in Jaja’s African Hair Braiding. (Photo/T. Charles Erickson Photography)
Full Disclosure: I have never experienced the mysterious realm of an African hair braiding salon. In this comedy, the employees of Jaja’s salon come from Sierra Leone, Jamaica, Senegal, Ghana and Nigeria – a veritable polyglot of personalities. That’s the frame.
The larger story here plays out in the sisterhood of these braiders – their shared struggles, their families, their dreams and how they strive to keep it together against all odds, some of those odds being the men in their lives. As immigrants – some are legal, some not – all are vulnerable, hardworking and super street stylish.
Groundbreaking, Ghanaian American playwright Jocelyn Bioh invites us to enter this wildly hilarious immigrant microcosm situated in one small, candy-colored, Harlem-centric salon. I’m hooked. The audience is hooked too. Many nodding and laughing with the recognition of the perils and pleasures of locs, twists, box braids, cornrows, spiraled ends and all manner of intricate braiding styles. (N. B. There is actual braiding going on during the play.)
(Photo/T. Charles Erickson Photography)
Conflicts and professional jealousies clash in this small space. Stealing clients is definitively a no-no. How the politics and precarious balance of these fraught relationships work, is a mystery to me. Yet within this glorious bird’s eye view of a Black hair salon lies humor – tons of it – and that proves to be the glue to secure the ladies’ camaraderie as well as the braids.
Jaja (Victoire Charles) is the glamorous owner of this petite enclave. She enters like a queen oozing style and spunk in equal measure. We don’t meet her until the second act, but her essence hangs over the salon where her daughter, college valedictorian Marie (Jordan Rice), manages the day-to-day operation. There’s Miriam (Bisserat Tseggai) fighting for her new-found identity; Aminata (Tiffany Renee Johnson) who caves to her abusive husband but stands up for Bea (Awa Sal Secka), and Ndidi (Aisha Sougou) who is a temporary hire until her own salon can be rebuilt. Ndidi’s talents are more in demand than Bea’s which fires up Bea, the pot-stirrer, giving her yet another reason to start a fight. She’s a regular gladiator swiping and posturing and throwing her weight around the salon, bent on intimidating everyone. Jennifer (Mia Ellis) is Miriam’s client for the day. A sober-minded journalist who’s never had braids before and is clueless how long the process takes. “I feel like I’ve moved in for the day!” she exclaims. She has.
Tiffany Renee Johnson (Aminata) and Colby N. Muhammad (Vanessa/Sheila/Radia) in Jaja’s African Hair Braiding. (Photo/T. Charles Erickson Photography)
The four stylists and a few of their clients, bicker, tease and diss each other, although they all seem inured to the back-and-forth verbal jousting. I’m content to be far away from the claws and paws. I’ll take it as normal, a snapshot of a braiding salon. Is it called a “salon”? No matter. It’s wildly entertaining. So is the shop’s TV on which runs soap operas from Africa and snippets of Beyoncé’s music videos. It’s complicated, also non-stop hilarious. The audience is falling out of their seats laughing.
What results is a kaleidoscope of zany bits – heightened and condensed into a wonderland of characters. It seems I’ve gone down a rabbit hole and I like it. It’s impossible to single out any one actor in the cast, because each one is superb, as are those playing the clientele whose entrances and exits are as surprising as their crazy, well-drawn characters.
Highly recommended! Could there be a sequel?
Awa Sal Secka (Bea), Jordan Rice (Marie), Tiffany Renee Johnson (Aminata), and Bisserat Tseggai (Miriam) in Jaja’s African Hair Braiding. (Photo/T. Charles Erickson Photography)
With Melanie Brezill as Michelle/Chrissy/LaNiece; Yao Dogbe as James/Franklin; Colby N. Muhammad as Vanessa/Sheila/Radia.
Directed by Whitney White, Set Design by David Zinn, Costume Design by Dede Ayite, Lighting Design by Jiyoun Chang, Original Music and Sound Design by Justin Ellington, Video Design by Stefania Bubarella, Hair and Wig Design by Nikiya Mathis, Dialect and Vocal Coach Yetunde Felix-Ukwu.
Through October 13th at Arena Stage, 1101 Sixth Street, NE, Washington, DC 20024. For tickets and information call the box office at 202 488-3300 or visit www.ArenaStage.org.
The World Premiere of Tempestuous Elements Shines Brightly at Arena Stage
Arena Stage Jordan Wright February 26, 2024 Special to The Zebra
Illustration by Loveis Wise. Courtesy of Arena Stage.
Whether Psalmayene 24 is directing or writing, I know it’s a production I want to see. The pairing of “Psalm” as director of this world premiere with playwright Kia Corthron promised to be an intriguing collaboration. The story centers around teacher and school principal Anna Julia Cooper (the amazing Gina Daniels), a woman for whom the classics – Greek and Latin – and advanced mathematics were crucial to her curriculum. Anna knew that without her students mastering those subjects they’d have no chance of acceptance at Harvard or her alma mater Oberlin College as opposed to traditional HBCU colleges like Tuskegee Institute headed by Booker T. Washington whose influence at the White House afforded him the ear of the President.
Set against a Victorian backdrop, when married women were not allowed to be teachers, the play unfolds to reveal Anna and her fellow female teachers living on campus. For the most part they are all supportive of each other, but we see how professional jealousy can keep the glass ceiling firmly in place.
Anna teaches at M Street School, a private Washington, DC school for Black high school students. After a 20-year tenure, she’s about to get the shaft. It’s insider politics at their most insidious. Throughout the play historical references, societal mores and conflicts within the Black school system work against her high ideals. And although she upholds the highest scholastic standards, she is undermined by her co-worker Minerva Jeffries, who is far more concerned with students’ punctuality than their scholastic abilities. Another teacher, Mary Church Terrell, whose husband secures a seat on the Board of Education plans Anna’s undoing. When Anna’s students begin to exceed the accomplishments of their White counterparts, she is accused of being “elitist”, overstepping her bounds as a female teacher and, in the lowest blow of all, having an affair with her foster son, John.
Gina Daniels, Brittney Dubose, Ro Boddie, Joel Ashur, and Jasmine Joy in Tempestuous Elements. Photo by Kian McKellar.
The play is a history lesson in the competing ideas as to how to educate Black students including the many restrictions placed upon administrators to not “overstep” White imposed boundaries. Invoked are the names of W. E. B. Dubois and Frederick Douglas whose styles of educating Blacks differed substantially. Set a mere two generations after slavery, it touches on the Colored Women’s League, the destruction of Reconstruction, suffragettes, human dignity and the need to educate a new generation of Black students.
I can’t say enough about the caliber of this cast – their clear passion for their roles in presenting this deeply affecting story – as well as the high level of production values in every aspect from costumes to choreography, music to set design. It’s as smooth as silk. And speaking of silk, I learned something new. To dress the men and women of the South in bespoke finery, slaves learned to produce silk by breeding silkworms and weaving the silk from their cocoons on looms. Who knew?
Renea S. Brown and Kevin E. Thorne II in Tempestuous Elements. Photo by Teresa Castracane.
With Kelly Renee Armstrong as Abigail/Lotte; Joel Ashur as Mr. Turner/Francis/Atwood/Charles; Ro Boddie as Hiram/W.E.B. Dubois/Rep. White – played by Jonathan Del Palmer on opening night; Renea S. Brown as Ernestine/Lula/Mrs. Cook/Alumni Association President; Brittney Dubose as Lucretia/Annie; Yetunde Felix-Ukwu as Minerva/Miss Patterson; Jasmine Joy as Ruth/Ivy/Josephine/Principals’ Association Representative; Lolita Marie as Hannah/Mary/Nellie; Paul Morella as Hughes; Kevin E. Thorne II as Lawrence/Silas/John/Dr. Purvis/Dance Captain. Female Understudies – Monique Paige and Renee Elizabeth Wilson.
Associate Director and Choreographer, Tony Thomas; Set Designer, Tony Cisek; Costume Designer, LeVonne Lindsay; Lighting Designer, William K. D’Eugenio; Original Music and Sound Design by Lindsay Jones; Dramaturg, Otis Ramsey-Zöe; Hair and Wig Designer, LaShawn Melton; Dialect and Vocal Coach, Lisa Nathans.
Highly recommended.
Through March 17th on the Fichandler Stage at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information call the box office at 202 554-9066 or visit www.ArenaStage.org.
Swept Away at Arena Stage Features Music by Grammy Winners The Avett Brothers in a Dark Tale on the High Seas
Swept Away Arena Stage December 11, 2023 Jordan Wright Special to The Zebra
Stark Sands (Big Brother), John Gallagher, Jr. (Mate), Wayne Duvall (Captain), and Adrian Blake Enscoe (Little Brother) in Arena Stage’s East Coast premiere of Swept Away. (Photo/Julieta Cervantes)
Swept Away opens with a slow burn culminating into an edge-of-your-seat drama. Scored by The Avett Brothers, an American Roots band who have earned three Grammy Awards, it focusses on the waning days of the whaling trade when whale products were the primary commerce out of the New Bedford, Massachusetts port. Two brothers, named in the program as Little Brother (Adrian Blake Enscoe) and Big Brother (Stark Sands) are on the final voyage of one of the last whaling ships to ply the Atlantic Ocean. They have come from a New England farm where Little Brother ran off to seek adventure and Big Brother followed him onto the ship with the intention of convincing him to come back home. “It’s seed-planting season,” he pleads. But the ship raises anchor before Big Brother can disembark, and now the two boys must begin their adventure together.
The music, taken from the Avett’s Mignonette album, is the glue that holds the plot together with only one song written exclusively for the show. Avett Brothers’ fans, and there seemed to be many in the audience, will recognize their Roots music. Though the combination of soulful and up-tempo songs are a part of the composers’ canon, they had not been written with the show in mind but seem to dovetail seamlessly into the plot.
Stark Sands (Big Brother), Wayne Duvall (Captain), Adrian Blake Enscoe (Little Brother), John Gallagher Jr, (Mate). Taurean Everett (Ensemble), Orville Mendoza (Ensemble), Michael J. Mainwaring (Ensemble), Tyrone L. Robinson (Ensemble), John Sygar (Ensemble), and Cameron Johnson (Ensemble) (Photo/Julieta Cervantes)
It opens with three men imploring a recuperating crewmember to tell the truth, to, “Tell the whole story.” He begins with, “Twenty-one days lost at sea,” which is a familiar tale to anyone who knows the perils sailors faced in those times. Cue Moby Dick.
The story then flashes back to 1888 when the men set sail for the deepest waters of the Atlantic Ocean on their quest to harpoon the massive mammal for a king’s ransom. We meet the rowdy crew of hardened sailors, the Mate (John Gallagher, Jr.) and the Captain (Wayne Duvall). In a show of camaraderie, the sailors bond with each other and the Mate refers to the ragtag crew, “We are pagans and idolators here!” A rowdy group of hardened men unknown to these two hayseeds raised within the Church. “What are we but useless men plying a dying trade,” the Captain asks. Throughout the script and within the lyrics are multiple references to God and salvation.
Stark Sands (Big Brother) and Adrian Blake Enscoe (Little Brother) (Photo/Julieta Cervantes)
Soon the men encounter a terrible storm. The ship goes down and the Captain, the Mate and the two boys are set adrift in a lifeboat. This is where the story goes very dark and becomes well-reflected musically by the striking change in mood.
Directed by Michael Mayer and choreographed by David Neumann, it is bolstered by the talents of Set Designer Rachel Hauck who has created a ghostly ship with old fashioned rigging to fill the stage and backdrop the sailors’ merriment. Yes! There is hornpipe dancing when the men bond as they set to sea. Later Lighting Designer Kevin Adams along with Sound Designer John Shivers and Stage Command Systems’ sophisticated technology seal the dizzying drama which ensues.
Ensemble members: Hunter Brown, Matt DeAngelis, Taurean Everett (and Dance Captain), Cameron Johnson, Brandon Kalm, Michael J. Mainwaring, Orville Mendoza, Tyrone Robinson, John Sygar and Jamari Johnson Williams.
Book by John Logan; Music Arrangements and Orchestrations by Brian Usifer and Chris Miller; Music Director Will Van Dyke; Costume Designer Susan Hilferty.
Orville Mendoza (Ensemble), Taurean Everett (Ensemble), Stark Sands (Big Brother), Adrian Blake Enscoe (Little Brother), Jamari Johnson Williams (Ensemble), John Gallagher, Jr. (Mate), Michael J. Mainwaring (Ensemble), John Sygar (Ensemble), and Matt DeAngelis (Ensemble) (Photo/Julieta Cervantes)
In the Kreeger Theater through January 14, 2024 at Arena Stage, 1101 Sixth Street, Washington, DC 20024. Visit www.ArenaStage.org for tickets and information.
POTUS is a Flat-Out, Genius, Madcap Comedy at Arena Stage
POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive Arena Stage Jordan Wright October 20, 2023 Special to The Zebra
Kelly McAndrew, Yesenia Iglesias and Megan Hill in POTUS (Photo/Kian McKellar)
Nothing subtle here, folks. The title tells us everything we should expect – seven women and a nincompoop U. S. President – though I can easily see this zany comedy apply to a few other countries who shall remain nameless. You know who you are. Playwright Selena Fillinger’s POTUS cannily claims to be an amalgamation of U. S. Presidents over the centuries. So, you don’t get to choose just one. Though you’ll see a few buffoons that will seem familiar. To echo the sentiment, the set is decorated with a smattering of their iconic portraits and a glass White House is suspended high above the stage as in, “People who throw stones shouldn’t live in…” yadda, yadda, yadda. Savvy inside-the-Beltway political junkies will fall head over heels for the wisecracks… that is after you pick yourselves up off the floor. When you go, and you can’t ask for a Presidential pardon if you don’t, make sure to have your wits about you. It plays out lightening quick and you don’t want to miss one single, snappy line.
Fillinger has already garnered three Tony noms for POTUS, writes tons of network comedy shows, and promises to keep us rolling in the aisles for many years to come. Her idea of comedy is mine too – loaded with slapstick, pratfalls, parody, witty digs and wacky setups. This one has them all plus a very, very talented cast who play White House operatives, family members and insiders navigating a presidential sh*t show.
Felicia Curry (Photo/Kian McKellar)
Here’s the premise. The Prez has his typically busy daily schedule and all hands are on deck to see that he is on time and on point. These are our magnificent seven: Harriet, his Chief of Staff (Naomi Jacobson); Jean, his Press Secretary (Natalya Lynette Rathnam); Margaret, his wife – The First Lady (Felicia Curry); Chris, a journalist for the Washington Post (Yesenia Iglesias); Dusty, his dalliance (Sarah-Anne Martinez); and Bernadette, his sister (Kelly McAndrew). Just remember they hate each other until they need each other when they will fight to the death to guard the president’s reputation above all else.
The day begins at a meeting with foreign dignitaries and with POTUS dropping an insulting curse word for female genitalia in describing his wife’s mood. We don’t hear or see this gaffe, but the West Wing is on high alert trying to put out this five-alarm fire. In fact, the West Wing will be on constant high alert. Calamity is the modus operandi for these nimble spin doctors.
Fillinger’s characters are sharply-drawn and their intersections are like watching a car crash – riveting, but disastrous, and ultimately hilarious. Here within the confines of the White House, the infighting is WWE-worthy, the barbs are as sharp as poison darts and it’s absolutely, positively delicious. Compare FLOTUS and Harriet to attack dogs. No one in their sphere of influence remains unscathed. They are the president’s gladiators and in some cases quite well-armed.
Director Margot Bordelon cleverly uses the theater-in-the-round technique on the Fichandler Stage to reflect the fishbowl that is the West Wing, employing the aisles for the breakneck chases that ensue. Trust me. No one remains unscathed. There is so much cursing I cannot provide a quote without offending delicate ears. So, dear grownups, this is a warning. Don’t bring your delicate ears, because you won’t want to miss any of the profanity.
In her choice of this sharp-as-knives political comedy, I’d say all the stars have aligned for the debut production of Arena’s new Artistic Director, Hana S. Sharif. I’ll be looking forward to her next selection.
Highly recommended. A flat-out, genius, madcap comedy!
Sarah-Anne Martinez and Megan Hill (Photo/Margot Schulman)
Set Design by Reid Thompson; Costume Design by Ivania Stack; Lighting Design by Marika Kent; Original Music and Sound Design by Sinan Refik Zafar; Dramaturg Otis Ramsey-Zöe.
Through November 12th at Arena Stage, 1101 Sixth Street, SW, Washington, DC 20024. For tickets and information visit www.ArenaStage.org or call the box office at 202 554-9006.
