They Swipe Right in Strategic Love Play at Signature Theatre
Strategic Love Play
Signature Theatre
Jordan Wright
October 4, 2025
 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 9th 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.
Al Letson’s Play Blends Caesar’s Plight with Malcolm X in a Tour de Force at Folger
Julius X: A Re-Envisioning of The Tragedy of Julius Caesar by William Shakespeare
Folger Shakespeare Theatre
Jordan Wright
October 1, 2025
 Julius X: A Re-Envisioning of The Tragedy of Julius Caesar by William Shakespeare via Folger Shakespeare Theatre
“This is not the story you know, but something in between.” So begins playwright Al Letson’s Julius X, a layering of Shakespeare’s classic superimposed on the story of American Black nationalist Malcolm X, member of the Nation of Islam – a powerful grassroots movement created by Elijah Mohammed and one in which Malcolm X rose to the position of its national spokesman through his impressive ability to be a powerful motivational speaker.
This brilliantly written play reflects the parallel ‘his-story’ of these two powerful men – through an assassination and the destruction of a society. Familiar lines from the original play weave in and out of script, reminding the audience of its similarity to Julius Caesar. Letson slyly drops in one of the character’s names associated with the powerful Black movement of the 1960’s and early ‘70’s. Malcolm’s wife, called Calpurnia as in the original, is here given the last name of Shabazz, as in Betty Shabazz, his real-life wife who after leaving the Nation became a prominent spokeswoman for the Black Power movement. The resemblance to Shakespeare’s story of absolute power, conspiracy and tyranny are stunningly familiar. The resemblance to many current governments’ abuses of power is too familiar to ignore.
 Cast of Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare at Folger Shakespeare Theatre. (Photo/Erika Nizborski)
Set in New York’s Harlem where Malcolm came up running its hard streets, his connection to the community appears at first blush to be incontrovertible until he views it through a more inclusive lens after a spiritual journey to Mecca to understand his roots. His vision of the movement then redefined its mission from Civil Rights to Human Rights – to include Whites – and the Nation immediately rebels against his radical new message. Brutus and Cassius feel he has deserted the Black power movement and hatch their plot to assassinate him. As Brutus exclaims, “Oh, Harlem! I have no choice but to set her free.”
At this point, Malcolm X had already been investigated and vilified by New York’s Mayor Robert Wagner, the FBI and the CIA, and the writing was on the wall. A Greek chorus calls out in a hauntingly familiar refrain, “The Ides of March are upon us.” Portia, Brutus’s wife, in learning of her husband’s murder of Malcolm, wonders, “Who is this man who lies in my bed?” And Calpurnia’s urging to Marc Anthony to avenge her husband’s death tells him, “Unleash the dogs of war!” A phrase that will be familiar to all bardolaters.
 Jay Frisby (Cassius), Dwayne Alistair Thomas (Casca), Greg Alverez Reid (Brutus), and Shawn Sebastian Naar (Marullus). (Photo/Erika Nizborski)
When the funeral of Malcolm X takes place, Marc Anthony, addressing the Nation of Islam and angling to assume Malcolm’s seat of power, Letson tweaks another familiar line to say, “Friends, Harlemites and countrymen…”.
Nicole Brewer’s excellent direction of this cast provides this play with intensity and meaning. Outstanding performances starring Brandon Carter as Julius X, Greg Alverez as Brutus, Jay Frisby as Cassius, Nikkole Salter as Calpurnia, Jonathan Del Palmer as Marc Anthony, Renee Elizabeth Wilson as Portia, Gaelyn D. Smith as both Cinna and Soothsayer, Lilli Hokama as Addara, Shawn Sebastian Naar as Octavius and Marullus, and Dwayne Alistair Thomas as Casca and Flavius elevate this exciting and relevant re-envisioning of Shakespeare’s historical tragedy.
Not to be missed!
 Shawn Sebastian Naar (Octavius/Marullus), Renee Elizabeth Wilson (Portia), and Gaelyn D. Smith (Soothsayer). (Photo/Erika Nizborski)
Choreography by Shawn Short, Scenic Design by Jonathan Dahm Robertson, Costume Design by Danielle Preston, Lighting Design by Porsche McGovern, Sound Design by Thom J. Woodward, Projections Design by Andrés Poch, Dramaturg and Voice and Text Coach – John “Ray” Proctor.
Through October 26th at the Folger Shakespeare Theatre, 201 East Capitol Street, SE, Washington, DC 20003. For tickets and information call the box office at 202.544.7077 or visit www.Folger.edu/JuliusX
Arena Stage’s Sensational Revisal of Damn Yankees Hits It Out of the Park
Damn Yankees
Arena Stage
Jordan Wright
September 21, 2025
 Ana Villafañe (Lola) and Jordan Donica (Joe Hardy) in Damn Yankees at Arena Stage. (Photo/Matthew Murphy and Evan Zimmerman)
Call it a “revisal” as Artistic Director Hana S. Sharif did on opening night or call it a revival which those familiar with the 1955 musical might say. Whatever term of art you choose, I recommend getting off the bench now, because there was a ‘producers’ performance’ last week and there is a hot chance it will go to Broadway, so you can say you saw it here first.
Remember Dear Evan Hansen? It started its B’way journey at Arena Stage. So did groundbreaking shows such as The Great White Hope, Sweat, Next to Normal, Looped and A Night with Janis Joplin. Celebrating its 75th Anniversary Season, Arena has always been a nexus for groundbreaking theatrical exploration.
So, why revive Damn Yankees? It’s simple. Do not doubt the power of a story about baseball, the devil, a sexy siren with a conscience, a loving wife and a desire to be more than your past all underpinned by a brilliant score. This fresh reimagining brings heavy hitters to the stage. Will Power and Douglas Wallop collaborated on the adaptation and Lynn Ahrens brightened original composers Richard Adler’s and Jerry Ross’ music and lyrics with modernized lyrics and slips in a few snappy zingers to reflect our fraught political times. Not only does this iteration have an exceptional cast (more on that later) but its staging dazzles in every way. From special effects and lighting to video projections, clever illusions and choreography, it absolutely slays.
One of the script tweaks here is in the original production the team was the Washington Senators. They’re now the Baltimore Orioles. Look for the “Oriole Bird” who makes a brief onstage appearance to pump up the audience. As Applegate wisecracks, “Baltimore is like Newark, but with crabs.”
There are plenty of sports franchises who regard athletes’ agents as the devil incarnate. Here the devil is Applegate, – a con artist, evil grifter and all-around hustler who convinces our hero, Joe Boyd, to sell his aging body and leave his wife to become a star slugger with the Orioles. “And that’s why it’s called the art of the deal,” Applegate tells Joe. Joe’s dad had suffered racism in professional baseball when Black players could only play in the Negro leagues until Jackie Robinson broke the color barrier to play for the NY Giants in 1955. Joe is determined to right this wrong and avenge his father’s limited career. His impulse becomes a powerful motive for his decision to sell his soul to Applegate.
 Rob McClure (Applegate). (Photo/Matthew Murphy and Evan Zimmerman)
To convince Joe, Applegate enlists his wily partner Lola, who is as convincing as a henchman with a shiv and as alluring as whipped cream on a banana split. As Lola sings in the tango number when she seduces Joe, “Whatever Lola Wants”, she gets.
Applegate is played wicked slick by Broadway veteran Rob McClure known for roles in Mrs. Doubtfire and Beetlejuice. The diverse cast includes a hunky-hot chorus of ballplayer dancers delivering extra sizzle and swing alongside the notorious siren, Lola, played by luscious Broadway star Ana Villafañe known for her award-winning roles of Gloria in B’way’s On Your Feet and Roxie in Chicago. Young Joe Hardy is played by the extraordinary Jordan Donica a baritenor with superb range and movie star looks who will steal your heart if you let him. I did. Quentin Earl Darrington shines as the elderly Joe Boyd on the crux of a life-changing decision in a perfect counterpoint casting to his adoring wife Meg, played by the superb honey-voiced actress, Bryonha Marie, whose impressive bio is as long as your arm.
Highly recommended!!! With 25 memorable numbers, a full orchestra and an historic nine Tony Awards for the original, this splashy new production hits it out of the park!
 Alysha Umphress (Gloria Thorpe) and the company of Damn Yankees. (Photo/Matthew Murphy and Evan Zimmerman)
With Alysha Umphress as Gloria Thorpe; Giuseppe Bausilio as Fuzzy/Ensemble; Raúl Contreras as Peña/Ensemble; Deanna Cudjoe, Ensemble; John Michael Fiumara as Gonzalez/Ensemble; Rayanne Gonzales as Sister/Ensemble; Danielle Marie Gonzalez, Ensemble; Michael Harmon as Smokey/Ensemble; Nehal Joshi as Ito/Ensemble; Ryo Kamibayashi as Ito/Ensemble; Georgia Monroe, Ensemble; Keenan McCarter as Welch; Kevin Munhall as Commissioner/Ensemble; J Savage as Sohovik/Ensemble; Justin Showell as Rocky/Ensemble; Sarah Anne Sillers as Doris/Ensemble; Jordyn Taylor, Ensemble.
Brilliantly directed and choreographed by world renowned creative, Sergio Trujillo; Music Supervision and Arrangements by Greg Anthony Rassen; Set Design by Robert Brill; Costume Design perfection by Linda Cho; Lighting Design by Philip S. Rosenberg; Sound Design by Walter Trarbach; Score Supervisor, David Chase; Projection Design by Peter Nigrini; Wig & Hair Design by Charles G. LaPointe; Illusion Design by Paul Kieve.
Through November 9th 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.
What’s Onstage in the DMV – October 2025
September 14, 2025
Jordan Wright
 Julius X: A Re-envisioning of The Tragedy of Julius Caesar via Folger Theatre
Folger Theatre – Julius X: A Re-envisioning of The Tragedy of Julius Caesar – through Oct 26 www.Folger.edu
Washington Stage Guild – The One Good Thing – or “Are ya’ Patrick Swayze?” – Oct 2 – Oct 19 www.CI.OvationTix.com
Signature Theatre – Strategic Love Play – through Nov 9 www.SigTheatre.org
Cirque du Soleil – Luzia – through Oct 19 www.tickets-center.com
 Noel Coward’s Blithe Spirit via Dominion Stage
Dominion Stage – Noel Coward’s Blithe Spirit – Oct 24 – Nov 8 www.DominionStage.org
Round House Theatre – The Inheritance – through Oct 19 www.RoundHouseTheatre.org
Olney Theatre – Red Pitch – through Oct 19 www.OlneyTheatre.org
MetroStage at the Lyceum – Love Notes and Blue Notes with Aaron Myers and Yvette Spears – Oct 6
A Cabaret with Lisa Vroman – Nov 10 www.MetroStage.org
 The Wild Duck via Shakespeare Theater Company
Shakespeare Theatre Company – The Wild Duck – Oct 18 – Nov 16 www.ShakespeareTheatre.org
Everyman Theatre – ‘Art’ – Oct 19 – Nov 16 www.EverymanTheatre.org
Woolly Mammoth – The Great Privation (How to flip ten cents into a dollar) – through Oct 12 www.WoollyMammoth.net
The Little Theatre of Alexandria – Grease – Oct 25 – Nov 15 www.TheLittleTheatre.com
 The Outsider via Aldersgate Theatre
Aldersgate Theatre – The Outsider – Oct 3 – 19 www.ACCTonline.org
IN Series – St. John the Baptist – through Oct 12 www.inseries.org
Compass Rose Theater – Annie – through Oct 19 www.CompassRoseTheater.org
1st Stage – Fair Play – Oct 16 – Nov 2 www.1stStage.org
 Lizzie the Musical via Keegan Theatre
Keegan Theatre – Lizzie the Musical – Oct 31 – Nov 30 www.KeeganTheatre.com
Arena Stage – Damn Yankees – through Nov 9
Freemont Ave. – Oct 8 – Nov 23 www.ArenaStage.org
Toby’s Dinner Theatre – Saturday Night Live – through Nov 7 www.TobysDinnerTheatre.com
Providence Players of Fairfax – The Mousetrap – Oct 10 – Oct 25 www.ProvidencePlayers.org
GALA Hispanic Theatre – Héctor, The Electric Kid – Oct 18 – Nov 1 www.GALATheatre.org
 The Last Five Years via Next Stop Theatre
Next Stop Theatre – The Last Five Years – Oct 30 – Nov 23 www.NextStopTheatre.org
Silver Spring Stage – Friends With Guns – through Oct 12
Witch – Oct 31 – Nov 16 www.SSStage.org
Adventure Theatre – Not Your Mother Goose! – Oct 3 – Nov 2 www.AdventureTheatre-MTC.org
Studio Theatre – The Heart Sellers – through Oct 26 www.StudioTheatre.org
Spooky Action Theatre – The Dragon – through Oct 19 www.SpookyAction.org
 The Turn of the Screw – The Musical via Creative Cauldron
Creative Cauldron – The Turn of the Screw – The Musical – Oct 2 – 27 www.CreativeCauldron.org
National Theatre – PlayStation – The Concert – Oct 17 & 18 – Twilight – In Concert – Oct 24 and 25 www.BroadwayAtTheNational.com
Hippodrome Baltimore – The Rocky Horror Show – Oct 17 – Nov 2 www.TheHipp.org
Taffety Punk – Cyrano – through Oct 11 www.TaffetyPunk.com
Rorschach Theatre – So Late Into The Night – Oct 7 – Nov 2 www.rorschachTheatre.com
 Evil Dead – The Musical via Workhouse Arts Center
Workhouse Arts Center – Evil Dead – The Musical – through Nov 2 www.WorkhouseArts.org
ExPats Theatre – Cold Country – through Oct 19 www.ExPatsTheatre.com
The Colonial Players – Dracula: A Comedy of Terrors – Oct 24 – Nov 15 www.ColonialPlayers.org
Bethesda Little Theatre – French Cupcakes – Oct 10 – 19 www.BLT-online.org
Synetic Theatre – Frankenstein or The Modern Prometheus – Nov 1 – 23 www.SyneticTheatre.org
 Furlough’s Paradise via Theater Alliance
Theater Alliance – Furlough’s Paradise – through Nov 23 www.TheaterAlliance.com
Theatre J – This Much I Know – through Oct 19 www.EDCJCC.org
Avant Bard Theatre – The 9th Annual Scripts in Play Festival – Oct 4 – Oct 20 www.AvantBard.org
Prince William Little Theatre – The Woman in Black – Oct 10 – Oct 18 www.HyltonCenter.org
Cirque du Soleil’s Luzia is an Edge of Your Seat Extravaganza Celebrating Mexican Culture
Cirque du Soleil’s Luzia
Jordan Wright
September 12, 2025
 Scene from Cirque du Soleil’s ‘Luzia’ (Photo/Anne Colliard)
In an edge-of-your-seat extravaganza, Cirque du Soleil’s Luzia excels in spine-tingling, jaw-dropping acrobatics and evocative music. It’s not just my opinion, but comments from attendees who say they thought it was the best Cirque show they had ever seen. Credit their policy for responding to audience feedback and regularly tweaking their shows to elicit the maximum reaction. Expect a spectacular fantasy world to both thrill and inspire.
Spoken and sung entirely in Spanish, Luzia (a portmanteau of luz meaning light and lluvia meaning water) affords the artists a mellifluous and joyful often romantic dynamic in the slower numbers and an intense immediacy in the daredevil performances. Elements of Mexican culture are everywhere, from the opening number featuring a circular garden of bright orange marigolds, mariachis and tiny robots who water the flowers, to the larger than life Mexican creatures – armadillo, jaguar, crocodile, horse, iguana, fish and giant mariposa (butterfly) – that dance to the sounds of classical and pop as well as salsa, bolero and traditional Mexican ballads – a veritable feast for the eyes and ears.
 Scene from ‘Luzia’ (Photo/Anne Colliard)
One of the most eye-popping features is the waterfall, cascading from the very top of the tent. Artists performing within the splash zone offer an added dimension of excitement as drops of water reflect the light and flower and animal motifs are projected along the length of the curtain of water.
The ‘emcee’ is a comic figure, a clever mime he is constantly thirsty and thwarted by the waterfall which shuts down whenever he tries to fill his cup. Across the arena, amid the sounds of the organ grinder and the mariachis, you can hear the squeals of laughter and delight from excited children. Contagious too are the gasps at the physically precarious leaps, feats of tumbling, pole dancing and stupefying gymnastics from an acrobat on the aerial straps who is a marvel! Did I mention he’s as hot as a jalapeño. Another act is the lightning-fast juggler who tosses his silver pins at blinding speed.
 Scene from ‘Luzia’ (Photo/Anne Colliard)
As birds and butterflies flutter, the feats of derring-do are amazing, but this reviewer was most captivated by a contortionist, who twists his hyper-flexible body into knots so intricate even a sailor wouldn’t know how to undo him. You’ll gasp at his elasticity. Another act by five pretty, soaking wet girls in Mexican dresses is performed within the confines of ‘cyr wheels’, a sort of life-size hula hoop, that has them upside down and spinning at 360-degrees.
Highly recommended. This fiesta is a true joy for young and old alike. Don’t miss it!
Through October 19th under the Big Top at Tysons II, 8025 Galleria Drive. Tysons, VA 22102.
Tickets online at www.CirqueduSoleil.com
Dodi & Diana is a Role-Switching, Astrologist-Fueled Two-Hander from Mosaic Theater
Dodi & Diana
Mosaic Theater
Jordan Wright
September 8, 2025
 Dina Soltan (Samira) and Jake Loewenthal (Jason) in Mosaic Theater’s production of Dodi & Diana. (Photo/Chris Banks)
This two-hander imagines a couple whose lives are dictated by an unseen astrologist called Vincent. The disembodied Vincent has ordered them to follow a set of rules while they luxuriate in a five-star hotel in Paris. To wit, they cannot leave their bedroom for 72 hours, they must be honest with each other, and they cannot use electronic devices – phone or laptop – or watch TV. Vincent has told them they are the astrological doubles of Dodi Fayed and Princess Diana. It has been 25 years since the famous car crash that resulted in that couple’s deaths.
Jason (Jake Loewenthal) is a high-flying financial wiz. He’s White and that will matter to the story. He is co-dependent on his wife and an emotional wreck. Samira (Dina Soltan) is a successful TV actress whose star is rising. She’s Egyptian and Muslim. That too, will matter. The couple have been married for a decade.
Expect a great deal of hot and heavy romantic antics, dining on lavish room service, coupling on the satin-dressed bed and rage arguing á la Edward Albee’s “Who’s Afraid of Virginia Woolf”. Do they trust each other? Not for a minute. Samira checks her phone and makes secret calls to her agent as soon as Jason heads to the bathroom. Jason catches her and tries to hide her cell phone. “Have you stopped loving me?” he questions her. Telling the truth has consequences.
 Dina Soltan (Samira) and Jake Loewenthal (Jason). (Photos/Chris Banks)
Samira suggests a role-playing exercise which goes south when Jason struggles to remember their first date. And there are role-switching exercises in which Samira, the actress, comes out on top. No surprise there. You may find yourself wondering how this couple made it through 10 years of marriage, especially as we learn Jason desperately wants children to cement his legacy and Samira stuns him by admitting she won’t sacrifice her career to have children. This appears to be the first time they have discussed this. Hmmm. Last time I checked there are actresses with children. And we all know there is sexism, racism and homophobia in this world, but it’s hardly a thing in show biz, yet Samira claims she can’t get the roles she wants because she is Arab. Last time I checked there were quite a few well-known Arab actresses and actors in film and TV.
After a psychedelic drug- and booze-fueled evening of romance, bickering and nitpicking, the couple assume the personae of Dodi and Diana in a switcheroo with Jason as the entitled Arab billionaire and Samira as Princess Diana complete with an upper-crust British accent – a surprise reveal to explain the play’s title that comes near the end of this one-act play. I won’t spill the ending, or the story of Scotty, referred to by his wife as Jason’s lapse in their marriage. I will, however, mention the gorgeous set design, the perfectly curated props, and the intricate lighting changes with each shift in the action. The actors give it their all, but given this convoluted story, it all falls flat. After a while the lies and accusations, challenges, insults and revelations begin to seem like a telenovela.
 Dina Soltan (Samira) and Jake Loewenthal (Jason). (Photo/Chris Banks)
Playwright Kareem Fahmy; Directed by Reginald L. Douglas; Scenic Design by Shartoya R. Jn. Baptiste; Lighting Design by Sage Green; Costume Design by Jeannette Christensen; Sound Design by navi; Props Design by Luke Hartwood; Resident Intimacy and Violence Director, Sierra Young; Production Stage Manager, Jenna Keefer.
But stay tuned. I’m very much looking forward to the upcoming A Case for the Existence of God opening in November, and Young John Lewis, a musical to be presented by Mosaic in Spring 2026.
Through October 5th at Mosaic Theatre at the Atlas Performing Arts Center, 1333 H Street, NE, Washington, DC 20002. For tickets and information call the box office at 202.399.7993 ext.501 or visit www.MosaicTheater.org.
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