Theatre & Film Archives - Page 6 of 121

Alex Mills (Prometheus), Vato Tsikurishvili (The Creature), and Maryam Najafzada (Gaia) in Frankenstein; or, The Modern Prometheus at Synetic Theater. (Photo/Katerina Kato)

In a wonderfully dark and explosive drama, Synetic Theater yet again reinvents theatre’s dynamic with their unique form of physical theatre. No other companies compare. The entire production is wordless – a style their audiences are quite familiar with. This iconic Georgian troupe stands alone in combining mime, originality, creativity, artistry, costume design, music, sound FX, and physicality. I’ve been reviewing their productions for over a decade and this one was jaw-dropping.

Celebrating their 24^th year with Frankenstein or The Modern Prometheus in a story that requires no specific holiday, Director and Synetic Theater Co-Founder Paata Tsikurishvili and Resident Dramaturg/Adaptor Nathan Weinberger have breathed new life into Mary Wollstonecraft Shelley’s familiar Gothic creation myth. The title is the original title from Shelley’s book.

Alex Mills (Prometheus) with the Synetic Ensemble. (Photo/Katerina Kato)

Synetic’s reimagining of Frankenstein paired with the myth of Prometheus feels like stepping into a classic Victorian Era painting peopled with characters torn from the artistry of the painter Hieronymus Bosch, the sculptor Hans Mueck and the author Charles Dickens. It’s fascinating. In this telling, pathos is paired with horror and grief while science wrangles with the vagaries of humanity in a world without empathy to reflect the broader human dilemma.

Prometheus, played brilliantly by Alex Mills in a riveting performance, along with his wife Gaia played poignantly by the sylph-like beauty Maryam Najafzada, and a roving band of survivors survive a terrible storm in the Caucus mountains. Their baby is killed and she is blinded. Prometheus climbs the ice-covered mountains and discovers fire using its power to create The Creature played by the inimitable Vato Tsikurishvili in the performance of a lifetime. Phillip Fletcher, another longtime Synetic troupe member, plays Fire.

Vato Tsikurishvili (The Creature) and Alex Mills (Prometheus). (Photo/Katerina Kato)

There are explosive fight scenes as the gang challenges The Creature, I thought of Picasso’s anti-war painting, “Guernica”, in its grotesque depiction of war. As we have come to expect from this troupe’s dazzling performances, there are mind-blowing displays of sheer physicality, intricately choreographed dance, gravity-defying leaps and flips and classic pantomime. All the action is set to experimental electronica and CG Sound FX by the incomparable sound wizard, Koki Lortkipanidze.

The entirety of this cast is outstanding in every respect. The production redefines acting as both an intensely physical and dramatically interpretive design that requires a unique kind of performer – one classically trained in ballet and acrobatics, and in top physical condition. Every cast member fits that requirement.

I was utterly blown away by the fearless athleticism expressed by this cast as well as the talents of its Choreographer and the troupe’s Co-founder Irina Tsikurishvili and Fight Choreographer Vato Tsikurishvili whose unforgettable portrayal of The Monster is sheer genius. Vato’s massive size and glowing bald head belie his jaw-dropping abilities in the fight scenes, but even more so in the heights he reaches with his leaps, tumbles and lifts in his tender scenes with Gaia. His unparalleled mime skills, and frankly, his entire performance, deserve a Helen Hayes Award.

Maryam Najafzada (Gaia) and Vato Tsikurishvili (The Creature). (Photo/Katerina Kato)

The super amazing ensemble includes Tony Amante, Stella Bunch, Natan-Maël Gray, Liam Klopfenstein and Kaitlyn Shifflett.

Assistant Composer/Sound Design by Aaron Kan; Scenic and Props Design by Phil Charlwood; Costume Design by Erik Teague; Lighting Design by Brian S. Allard; Projections Design by Zavier Augustus Lee Taylor.

Highly recommended!!!

Through November 23^rd at the Thomas Jefferson Community Theatre, 125 South Old Glebe Road, Arlington, VA 22204. For tickets and information visit www.SyneticTheater.org

Simon Godwin Directs Ibsen’s Seldom Produced Psychological Drama The Wild Duck at the Shakespeare Theatre Company

The Wild Duck

Shakespeare Theatre Company

Jordan Wright

October 24, 2025

Special to The Zebra

Maaike Laanstra-Corn (Hedwig), David Patrick Kelly (Old Ekdal), Nick Westrate (Hjalmar Ekdal), Melanie Field (Gina Ekdal), Alexander Hurt (Gregers Werle) in The Wild Duck (Photo/Gerry Goodstein)

Seeing Henrik Ibsen’s play The Wild Duck was a first for me and, according to director Simon Goodwin, it is rarely produced, though its impact ushered in a new dynamic in realism in the theatre. Its portrayal of edgily complicated family life was a groundbreaking concept in the Victorian era. Known in the late 19^th century as “Modern Drama”, Ibsen’s work affected and inspired playwrights such as August Strindberg, Anton Chekhov and George Bernard Shaw who wrote in 1887, “Where shall I find an epithet magnificent enough for The Wild Duck... to look on with horror and pity at a profound tragedy, shaking with laughter all the time at an irresistible comedy…”

The innovative nature of such a play for its time, The Wild Duck reveals the uncomfortable complexities and sticky realities of family life. The drama blends seamlessly with irony and humor as it meets at the intersection of an upper-class family and a working-class family whose sons have become close friends. Gregers Werle, scion of a wealthy family, and Hjalmar, a family portrait photographer is married to Gina, a former housekeeper to Gregers’s father. The men have known each other since childhood and reunite at a dinner party at the lavish home of the Werle family.

As he is aging, Gregers’s father, the widower Hakon Werle, expects his son to take over the sawmill business. But Gregers, turns him down, accusing him of being cruel to Hjalmar’s family. Meanwhile, the lively Mrs. Berthe Sørby is being courted by Hakon with an eye to marriage. At the party, Hjalmar’s father, the elder Ekdal, an employee of the sawmill, suddenly appears. He is shunned by his son who is embarrassed by his rough appearance and is shown the door. We soon learn there are scandalous family secrets, reputations to be restored, and evil undercurrents in both families that will be revealed. With all the twists and turns and shocking revelations, this psychological drama is akin to a Hitchcock movie!

Alexander Hurt (Gregers Werle) and Nick Westrate (Hjalmar Ekdal). (Photo/Gerry Goodstein)

Gina, Hjalmar, the couple’s young daughter, the sweet and precocious, Hedwig, and the old man, an avid hunter, live in the Ekdal home cum photography studio. They keep a menagerie of pigeons, chickens, rabbits and Hedwig’s beloved wild duck in a loft. Rescued by her grandfather, the wild duck is a Nordic symbol from folklore as the only creature at home in sea, sky and on earth.

Self-exiled from the family home, the piously manipulative Gregers, on a treacherous mission to reveal a difficult truth, comes to live with the Werle family and sets in motion a horror that cannot be undone. “You have a poison in you,” Gregers admonishes Hjalmar whose growing madness threatens his entire family. “Chronic righteousness is a national disease,” Relling warns Gregers. All this in the first act! The second act quickly becomes everyone’s undoing, though I won’t spoil it for my readers.

Faultless performances and keen direction from an experienced hand, grace this uniquely haunting Ibsen play.

David Patrick Kelly (Old Ekdal), Maaike Laanstra-Corn (Hedwig), Melanie Field (Gina Ekdal)*, and Robert Stanton (Hakon Werle). (Photos by Gerry Goodstein* and Hollis King)

With Alexander Hurt as Gregers Werle; Robert Stanton as Hakon Werle; Nick Westrate as Hjalmar Ekdal; Melanie Field as Gina Ekdal; Mahira Kakkar as Mrs. Sørby; Maaike Laanstra-Corn as Hedwig; David Patrick Kelly as Old Ekdal; Alexander Sovronsky as Jensen; Bobby Plasencia as Mr. Flor; Matthew Saldivar as Relling/Captain Balle; and Katie Broad as Peterson.

Adapted by David Eldridge; Scenic Design by Andrew Boyce; Costume Design by Heather C. Freedman; Lighting Design by Stacey Derosier; Sound Design by Darron L. West; Production Dramaturg, Jonathan Kalb; Wig & Hair Design by Satellite Wigs, Inc.

Through November 16^th at Shakespeare Theatre Company’s Klein Theatre, 450 7^th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.

You’ll Laugh, You’ll Cry with the Families of Fremont Ave. at Arena Stage

Fremont Ave.

Arena Stage

Jordan Wright

October 21, 2025

Special to The Zebra

Bradley Gibson (George/Robert/Joseph), Stanley Andrew Jackson (Walter), Wildlin Pierrevil (Frank), and Jeffrey Rashad (Tony) in Fremont Ave. at Arena Stage. (Photo/Marc J. Franklin)

Reflect on any TV all-Black cast comedy series, then go deep, then deeper. In a richly complex and cleverly funny three-generational play, we meet George, a newly rich, music therapist with a PhD living in his mid-century modern home. It’s 1968 and George is living alone. He’s interviewing a woman in his living room, barely furnished save for an upright piano. During an overly familiar conversation (Audrey is there for a housekeeping position), he tells her his personal story and propositions her. Audrey tells him she’s married with a son, and he lets it drop… temporarily. He plays “Blue Skies” for her, and they cuddle. Things happen quickly. He hires her, she divorces her husband and marries George. There are three acts and three generations to follow, so it all kicks off with a bang.

Playwright Reggie D. White, who is also the Senior Director of Artistic Strategy and Impact at Arena Stage under Artistic Director Hana S. Sharif, wrote Fremont Ave. based on conversations with his own family. It is raw, humorous, honest and believable – a real-life reflection of one family living in a Southern California suburb and a truth-telling world premiere production affording an insightful glimpse into the impossible struggles and indelible bonding within these African American families.

When the next generation appears, we are introduced to four young Black lawyers who speak in street jive when they hang out together. George’s stepson, Robert, plus the children of George’s friends and family who have become best friends. As they convene, they reference Loving v. Virginia – the seminal civil rights case in which bans on interracial marriage were found to be unconstitutional – and news of the Rodney King beating comes on the radio. The political references hit hard, and you begin to sense both the stresses and successes in their young lives.

Jeffrey Rashad (Tony) and Wildlin Pierrevil (Frank). (Photo/Marc J. Franklin)

As the music switches to Rap, the men drink, play cards, trash talk and dance to the latest hits. Robert is despondent. He has failed to pass the bar exam – nine times – and he feels he is letting down his father as well as his friends. Interspersed with the hilarity and the drama are musical snippets reflecting each generation. These transitions mirror the changing cultures and each generation’s tastes. From George composing on the piano or playing the hits to serenade Audrey, to the men breakdancing to the sounds from a boombox in the 1990’s, to the youngest generation busting moves in the 2020’s.

In the final act, when the third generation is introduced, we meet Damon, Walter’s son and Joseph’s significant other. They fight and love and stretch the dynamic to the nth degree. It’s explosive, raw, R-rated and wildly hilarious as the three generations assemble to show wisdom, tolerance, acceptance and faith.

There are fine performances by the entire cast who infuse their characters with distinctly engaging personalities. I wished Audrey’s character had a greater part – Jerrika Hinton was terrific. Credit to the brilliant direction of Lili-Anne Brown for this seminal piece.

Bradley Gibson (George/Robert/Joseph), Doug Brown (Older George), Kevin Mambo (Older Robert), and Galen J. Williams (Damon). (Photo/Marc J. Franklin)

This flawless cast stars Bradley Gibson as George/Robert/Joseph; Jerrika Hinton as Audrey/Voice of Hazel; Wildlin Pierrevil as Frank; Jeffrey Rashad as Tony; Stanley Andrew Jackson as Walter; Doug Brown as Older George; Kevin Mambo as Older Robert; Galen J. Williams as Damon.

Directed by Lili-Anne Brown; Set Design by Tim Mackabee; Costume Design by Jos N. Banks; Lighting Design by Kathy A. Perkins; Original Music and Sound Design by André Pluess; Wig and Hair Design by LaShawn Melton; Assistant Director and Intimacy Consultant, Greg Geffrard. Original Song “Somewhere Someone’s Waiting Just for You” by George R. Plick, Sr.

A conversation for the ages. You’ll laugh. You’ll cry. You’ll identify with these real-life personal stories.

Through November 23^rd at Arena Stage, 1101 Sixth Street, NW, Washington, DC. For tickets and information call the box office at 202.488.3300 or visit www.ArenaStage.org.

What’s Onstage in the DMV – November/December 2025

Jordan Wright

October 5, 2025

Special to The Zebra

2025 North American Tour Production of Hadestown (Photo/Evan Zimmerman for MurphyMade)

Broadway at the National

Hadestown Nov 18 – 23

Some Like It Hot Nov 25 – Dec 7

Water for Elephants Dec 9 – Dec 14 www.TicketMaster.com

Shakespeare Theatre Company

The Wild Duck through Nov 16

Guys and Dolls Dec 2 – Jan 4 www.ShakespeareTheatre.org

IN Series – The Delta King’s Blues Dec 6, 7, 12 & 13 www.INseries.org

Solas Nua – Lie Low Nov 6 – 23 www.SolasNua.org

Mosaic Theater – A Case for the Existence of God Nov 13-Dec 7 www.MosaicTheater.org

Hello Dolly via Olney Theatre

Olney Theatre – Hello, Dolly! Nov 6 – Jan 4 www.OlneyTheatre.org

MetroStage – An Evening with Lisa Vromen and Joe Walsh One night only – Nov 10 www.MetroStage.org

1^st Stage – Birthday Candles Dec 4 – 21 www.1stStage.org

Happenstance Theater & Edge of the Universe Theater – Death and the Fool Nov 8 & 9 www.Tix.com

Everyman Theatre – ‘Art’ through Nov 16 www.EverymanTheatre.org

Fiddler on the Roof via Signature Theatre

Signature Theatre – Fiddler on the Roof Nov 4 – Jan 25 www.SigTheatre.org

Ford’s Theatre – A Christmas Carol Nov 20 – Dec 31 www.MyFords.org

Keegan Theatre – Lizzie the Musical through Nov 30 www.KeeganTheatre.com

Arena Stage – Freemont Ave. through Nov 19

Step Afrika’s Magical Musical Holiday Step Show Dec 5 – Dec 21 www.ArenaStage.org

Silver Spring Stage – A Christmas Carol Dec 12 – Dec 21 www.SolverStage.org

Joseph and the Amazing Technicolor Dreamcoat via Port Tobacco Players

Port Tobacco Players – Joseph and the Amazing Technicolor Dreamcoat Nov 21 – Dec 14 www.PTPlayers.com

Adventure Theatre – Frosty the Snowman Nov 28 – January 11 www.AdventureTheatre-MTC.org

Studio Theatre – Mother Play: A Play in Five Evictions Nov 12 – Dec 21 www.StudioTheatre.org

Woolly Mammoth Theatre – Ho Ho Ho Ha Ha Ha Ha Nov 13 – Dec 21 www.WoollyMammoth.net

The Hippodrome Theatre – A Christmas Carol Dec 6 – Dec 21 www.TheHipp.org

Gaithersburg Arts Barn – Best Hanukkah Show Ever! Nov 28 – Dec 14 www.GaithersburgMD.gov

Colonial Players

Dracula: A Comedy of Terrors through Nov 15

A Christmas Carol Dec 3 – Dec 14 www.TheColonialPlayers.org

Elf via Toby’s Dinner Theatre

Toby’s Dinner Theatre – Elf Nov 7 – Jan 4 www.TobysDinnerTheatre.com

Theater Alliance – Furlough’s Paradise through Nov 23 www.TheatreAlliance.com

Stage Guild – Accused! The Victorian Ladies’ Detective Collective Returns Nov 20 – Dec 14 www.StageGuild.org

NextStop Theatre – The Last 5 Years through Nov 23 www.NextStopTheatre.org

Creative Cauldron – Peter Pan and Wendy Nov 7 – 23 www.CreativeCauldron.org

Imagination Stage – The Snowman and the Snowdog Nov 22 – Jan 4 www.ImaginationStage.org

GALA Hispanic Theatre – 21^st Annual Fuego Flamenco Festival Nov 6 – 22 www.GALATheatre.org

A Sherlock Carol via Providence Players of Fairfax

Providence Players of Fairfax – A Sherlock Carol Dec 12 – 21 www.ProvidencePlayers.org

Synetic Theater – Frankenstein or The Modern Prometheus Nov 2 – 23 www.SyneticTheater.mysalesforce-sites.com

Theatre J – An Enemy of the People through Nov 23 www.EDCJCC.org

The Little Theatre of Alexandria

Grease through Nov 15

A Christmas Carol Dec 6 – 20 www.TheLittleTheatre.com

Round House Theatre – Rules for Living Dec 3 – Jan 4 www.RoundHouseTheatre.org

The Puppet Company – The Nutcracker Nov 18 – 23 www.ThePuppetCo.org

Voices Festival Productions

“November 4” Nov 12 – Dec 7

Imperfect Allies: Children of Opposite Sides Dec 11 – Dec 14 www.VoicesFestivalProductions.com

They Swipe Right in Strategic Love Play at Signature Theatre

Strategic Love Play

Signature Theatre

Jordan Wright

October 4, 2025

Special to The Zebra

Bligh Voth (Woman) and Danny Gavigan (Man) in Strategic Love Play at Signature Theatre. (Photo/Christopher Mueller)

Never having uploaded a dating app, you could say I was a fish out of water. However, I’ve seen enough movies – Looking for Mr. Goodbar from the ‘70’s, the recent documentary The Tinder Swindler, as well as plenty of TV dramas and romcoms on the topic – to puzzle out how it works. Looking for love online is becoming less popular with Gen Z, who feel swiping right is transactional. But, hey, it’s still a thing.

In playwright Miriam Battye’s scathingly humorous two-hander Jenny and Adam meet at a bar after finding each other online. We never learn what their common interests are for them to swipe right and that leaves us at a bit of a disadvantage. From the get-go Jenny gives Adam the third degree, psyching him out with intrusive questions about his life. Is it a test to see if he can put up with her? Is that where the title word “Strategic” applies? And does the word “Play” in the title refer to the fact that it’s a play or that they are just playing at love?

Danny Gavigan (Man) and Bligh Voth (Woman). (Photo/Christopher Mueller)

She’s crass, profane, insulting and hyper-aggressive. He apologizes, a lot. But, for what? After one too many verbal punches from Jenny, he asks her, “Do I have to stay?” then tells her, “You’re just a narcissist, who’s not hot.” Wow, cringeworthy! Jenny is nonplussed. She continues her onslaught. He tells her he just wants a relaxing evening, but Jenny remains on the attack. “I wanna tear someone apart!” she admits. He wonders, “This isn’t for like a podcast,” he asks.

Notwithstanding the inquisition, Adam stays, and we’re left to wonder why. People are flawed. We get it. He’s submissive, she’s aggressive. Clearly, she’s crossed the line of any civilized convo. It’s no big surprise when we learn that Jenny is utterly insecure behind her feisty façade. So, what’s happening here? She’s confesses she’s angry that no man has ever “chosen” her.

Danny Gavigan (Man) and Bligh Voth (Woman). (Photo/Christopher Mueller)

When they finally get down discussing their relationship expectations, she insists he be honest with her. You have to wonder why, during a first date, anyone would bare their souls on command to a contentious stranger. So, are they a match? Do opposites attract? I won’t reveal the ending (he’s not a serial killer) but if you took Psych 1 or follow Dr. Phil, you can probably guess.

Directed by Matthew Gardiner and starring two very fine actors, Danny Gavigan and Bligh Voth, this story is for those who have been down the rabbit hole of online dating.

Scenic Design by Paige Hathaway; Costume Design by Kathleen Geldard; Lighting Design by Andrew Cissna; Sound Design by Kenny Neal.

Through November 9^th at Signature Theatre, in Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.