44 The Musical Spoofs the Obama Presidency With This Utterly Irreverent, Totally Original, Clever, Witty, Heartwarming and Ridiculously Hilarious Elixir Now at the Klein Theatre
44 The Musical
Shakespeare Theatre Company
Klein Theatre
Jordan Wright
April 25, 2026
 Cast of 44 The Musical at the Shakespeare Theatre Company’s Klein Theatre. (Photo/Jenny Anderson)
Warning: Do Not Read This Review – Go!
Already a winner of seven Broadway World Awards, 44 The Musical opens on Barack Obama’s election night as sung by the character, Voice of the People (Summer Nicole Greer), whose powerhouse soulful intro kicks off POTUS’s time in the White House. I’ve seen it with lead actor, T. J. Wilkins and again with his understudy Marqell Edward Clayton each playing the role of Obama and they are equally extraordinary.
As told by his loyal Veep and adoring White bro and loveable, laughable sidekick Joe Biden (Tony Award-winning material Chad Doreck) in this crazy, wild, utterly irreverent, clever, witty, heartwarming and hilarious musical is the elixir we need to counter the every goddamn five minutes of dizzying, politically fraught BREAKING NEWS! headache-inducing, news cycle we’re living in. Here’s our soul-soothing, deliciously snarky skewering of 44’s political enemies also known as the GOP. This musical lights up the stage infusing a blend of lampoon and burlesque with lightning-quick comic shtick and a heart-warming romance delivered by top-tier singers. You couldn’t ask for more.
 Cast of 44 The Musical (Photo/Jenny Anderson)
Briliantly directed, co-produced, written and composed by Eli Bauman, the cast of familiar characters includes Obama’s ever-lovely, “when they go low, we go high” wife, the beautiful Michelle (pitch-perfect Howard University grad, Sy Smith) and rival Hillary Clinton (Jenna Pastuszek totally nailing the sister side of the equation), along with Obama’s familiar nemeses – a slithery Mitch McConnell (Larry Cedar); don’t-remind-anyone-he’s-Latino Ted Cruz (Michael Uribes); a polar bear-hating Sarah Palin (Summer Collins), a lace parasol-toting Linday Graham (Jeff Sumner) and Godfather’s Pizza CEO Herman Cain (Dino Shorté) as their token Republican Black brother. They are a multi-talented cast of scene stealers in the best way possible.
Eager to upend Obama’s presidency and undermine hs signature programs, this band of loonies form a cabal called W. H. A. M. – an acronym for White, Heterosexual, Affluent Men. A dim-witted, pole-dancing, sexy babe Palin fronts for the female vote while Cain is the goofy group’s absurdly transparent attempt at racial inclusion. In an effort to be superfly and get the youth vote, the men go all Flavor Flav in clock neck chains and track suits and you could easily lose it watching McConnell fronting in Calvin Klein underwear.
 Cast of 44 The Musical (Photo/Jenny Anderson)
As Obama’s charisma soars and Michelle’s charm and savvy dazzle, Act 2 takes us to his second term as the ridiculous personal attacks prevail. Who doesn’t recall the tan suit debacle contrived by Republicans and Fox News pundits? Here called Faux News with a send-up presented by two ditsy identical blondes in matching skimpy dresses as a “Wonder Bread sandwich” for Herman Cain.
A wowza score by Bauman features 24 catchy numbers including soulful ballads and a Gospel trio to counterpoint the wacky political parodies. Perched the box seats is the kick ass House of Vibe All Stars band led by Musical Director and Co-Producer Anthony “Brew” Brewster.
 Cast of 44 The Musical (Photo/Jenny Anderson)
You’ll leave the theater merrily singing the raunchy-perfect tribute tune “M. F. O.” – short for mother-f***in’ Obama. Major kudos to Miss James Alsop’s brilliant choreography because this cast has hoofers as well as belters.
Terrific production values with costumes by Matthew Hemesath; Scenic Design by Julio Himede and Yellow Studio; Lighting Design by Nathan W. Scheuer and Natali Arco; Sound Design by Jonathan A. Burke; Wig & Hair Design by Brian Strumwasser. Co-Lead Produced with Bauman Monica Saunders-Weinberg.
Through May 10th at the Klein Theatre, 450 7th Street, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.44TheObamaMusical.com.
Hamnet – the Best-Selling Novel and Academy Award-Winning Movie – Comes Alive at the DC’s Shakespeare Theatre Company Starring London’s Royal Shakespeare Company Cast
Hamnet
Shakespeare Theatre Company
Jordan Wright
March 20, 2026
 Rory Alexander (William) and Kemi-Bo Jacobs (Agnes) in the Royal Shakespeare Company’s Hamnet. (Photo/Kyle Flubacker)
Anticipation has been high for the Royal Shakespeare Company’s inaugural appearance at STC since the announcement came from Shakespeare Theatre Company’s Artistic Director, Simon Godwin, that Maggie O’Farrell’s best-selling novel, Hamnet; Director Chloé Zhao’s award-winning eponymously named movie; later adapted from the original novel by Lolita Chakrabarti into play form, was listed for a DC run, the excitement has been at fever pitch.
In London, Hamnet’s West End reviews have been full of acclaim for this play, and with this month’s Academy Award for “Best Actress in a Leading Role” win for movie actress, Jessie Buckley, this theatrical production has been wildly anticipated.
Here are my takeaways from the adaptation which have their basis in both fact and fiction.
 Saffron Dey (Judith) and Ajani Cabey (Hamnet). (Photo/Kyle Flubacker)
William Shakespeare’s wife Anne Hathaway (here named Agnes) is presented as an herbalist, naturist, falconer and visionary. “I hear voices all the time,” Agnes reveals. Her passions attempt to explain how Will’s plays make countless references to animals, faeries, herbs and flowers – implying Agnes was his inspiration. As for Will’s chilly response to the death of his son, an early line from the play seems to sum up his emotions, “I write what I cannot say.”
In the play, Will’s curmudgeonly father, John, is of poor repute as a gambler, drunkard and debtor who lost their family properties through unwise money management. It is presented that he was not paying Will’s school fees, yet curiously Will is portrayed as a Latin scholar and tutor at the age of seventeen. Ultimately, John is forced to capitulate when Will’s marriage to Agnes wipes out his debt to Agnes’ brother and Will becomes wildly successful. And though the play presents Agnes’ pre-marital pregnancy as scandalous and religiously damning, it was not uncommon to be pregnant before marriage in the 16thcentury.
Whether much of this is drawn from historical documentation is questionable. Whether it informs or influences a good story, is for the viewer to decide. That it makes for good theatre with a brilliant cast of prominent actors from stage, film and TV, stunning choreography, and a fascinating script is assured.
 Heather Forster (Eliza) and Kemi-Bo Jacobs (Agnes). (Photo/Kyle Flubacker)
Starring Kemi-Bo Jacobs as Agnes and Rory Alexander as William; with Troy Alexander as Bartholomew; Nigel Barrett as John/Will Kempe; Ajani Cabey as Hamnet/Thomas Day; Saffron Dey as Judith; Penny Layden as Mary; Ava Hinds-Jones as Susanna; Heather Forster as Eliza; Elizabeth Connick as Tilly; Bert Seymour as Burbage/Father John; Matilda McCarthy as Jude/Physician’s Wife & Will’s Landlady/Caterina; Nicki Hobday as Joan/Elizabeth Condell; Karl Haynes as Ned/Henry Condell/Physician.
Directed by Erica Whyman; Set and Costume Design by Tom Piper; Lighting by Prema Mehta; Music by Oğuz Kaplangi; Fight Captain Bert Seymour; Dance Captain Matilda McCarthy; Movement by Ayşe Tashkiran.
Through April 12th at the Shakespeare Theatre Company’s 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.
Guys and Dolls Throws the Dice and Comes Up Big at the Shakespeare Theatre Company
Guys and Dolls
Shakespeare Theatre Company
Jordan Wright
December 15, 2025
 The cast of Guys and Dollsat Shakespeare Theatre Company. (Photo/Teresa Castracane Photography)
This beloved, oft performed, hilarious musical is from Broadway royalty, Frank Loesser, who composed and wrote the lyrics 75 years ago. The original production premiered on Broadway in 1950 winning the Tony for “Best Musical”. Inspired by the stories of Prohibition era author; hard news and sports reporter; and erstwhile backroom sociologist, Damon Runyon, who spun colorful tales of the grittier side of Broadway, Loesser takes Runyon’s world to craft a remarkable musical of the place and times when mobsters, gamblers, handicappers and hustlers in zoot suits ruled the mean streets and hoochie-coochie joints and where the Salvation Army worked to convert them at the Save-A-Soul Mission on Times Square.
Loesser’s memorable characters are the spark to two hilarious love stories – that between high-roller Sky Masterson and Salvation Army missionary Sarah Brown; and gambler Nathan Detroit and ditzy-clever chorus girl, Miss Adelaide. Don’t look for 21st century women’s rights advances nor politically correct relationships here. This is an updated throwback to the way things were in the male-dominated 1950’s.
 Jacob Dickey (Sky Masterson) and Julie Benko (Sister Sarah Brown). (Photo/Teresa Castracane Photography)
Led by Nathan Detroit we soon meet the goofball gamblers – Nicely-Nicely Johnson, Benny Southstreet and Rusty Charlie – between them they run the “oldest established, permanently floating, crap game in New York” as they call it, and where Runyon’s vivid street slang defines the characters’ story. Challenged to find a new venue to hold the dice game, Detroit hears that Sky Masterson is in town and wants in. But the Biltmore Garage wants a thousand clams to host it, and Nathan doesn’t have the dough. He bets Sky the thou if he can correctly guess how many pastries Mindy’s restaurant has sold. Naturally, Nathan has the inside scoop. When that bet doesn’t play out, he bets him he can’t get a date to a casino in Havana, Cuba with the straitlaced Sarah. And now, all bets are on and Sky, the cunning Casanova must woo Sister Sarah. When the crap game finally commences, Big Julie has convinced Harry the Horse, a tough guy from Chicago, to join in. Big Julie is packing a pistol and keeps the game going until he can win his ‘clams’ back.
As expected, high jinks and hilarity ensue played out among the crafty characters while the adorable Miss Adelaide and her spangly ‘Hot Box Girls’ perform on a tracer-lit stage that rises up to showcase the chorines flouncing and flirty for the racy number “A Bushel and a Peck” followed by Miss Adelaide’s memorable number, “Adelaide’s Lament”, more familiarly remembered as “a person can develop a cold”.
 Graciela Rey (Ensemble), Aria Christina Evans (Ensemble), Hayley Podschun (Miss Adelaide), Jessie Peltier, and Jimena Flores Sanchez (Mimi/Martha/Ensemble). (Photo/Teresa Castracane Photography)
There are so many crazy side stories and hilarious street slang, girls are “tomatoes” and guys are “mugs” and “no-goodniks”, plus the most iconic songs in this wonderful musical, that you will come to love these colorful characters. Sky’s song, “Luck Be a Lady Tonight” showcases Jacob Dickey’s phenomenal voice along with Joshua Bergasse’s brilliant choreography. Another standout is Kyle Taylor Parker’s fantastic rendition of “Sit Down You’re Rockin’ the Boat” which drove the audience wild with hoots and applause. Backed by a 12-piece orchestra, twenty numbers fill out this wonderfully wacky musical hit.
Set Designer Walt Spangler cleverly presents the scene in a Salvation Army thrift store chock-a-block with racks of used clothing, kitchenware and kitschy collectibles where the storefront windows allow for a continuous view of the orchestra – especially the conductor, dressed in Salvation Army military uniform. Snappy and snazzy 1930’s period costumes by Constance Hoffman set the tone for where in this story, the guys get the dolls and everyone lives happily ever after as the ladies sing “Marry the Man Today”, a paean to changing the guy after the ring is firmly in place. Old school.
In her directorial debut at STC, Francesca Zambello, current artistic director at the Kennedy Center for the Washington National Opera, has called in all her markers to showcase some of the best vocalists and performers in musical theatre.
 The cast of Guys and Dolls. (Photo/Teresa Castracane Photography)
With Julie Benko as Sister Sarah Brown; Rob Collett as Nathan Detroit; Jacob Dickey as Sky Masterson; Hayley Podschun as Miss Adelaide; Kyle Taylor Parker as Nicely-Nicely Johnson; Calvin McCullough as Benny Southstreet/Ensemble; Ahmad Kamal as Big Julie/Ensemble; Tommy Gedrich as Rusty Charlie/Ensemble; Lawrence Redmond as Arvide Abernathy/Ensemble; Lamont Brown as Joey Biltmore/Ensemble; Garrett Marks as Harry the Horse/Ensemble; Holly Twyford as General Matilda B. Cartwright/Ensemble; Katherine Riddle as Agatha/Ensemble; Jimena Flores Sanchez as Mimi/Martha/Ensemble; John Sygar as Calvin/Ensemble, Todd Scofield as Lt. Branigan/Ensemble.
Additional Ensemble: Nick Alvino, Brendan Chan, Aria Christina Evans, David Paul Kidder, Chivas Merchant-Buckman, Jessie Peltier, Graciela Rey.
Book by Jo Swerling and Abe Burrows; Music Director and Conductor, James Lowe; Lighting Design by Amith A. Chandrashaker; Sound Design by Andrew Harper; Dramaturg, Drew Lichtenberg; Wig & Hair Design by Kevin S. Foster; Fight Choreography by Robb Hunter; Voice & Dialect Coach, Lisa Beley; Intimacy Coordinator, Bess Kaye.
Lady Luck shines on this superb production! Highly recommended!!!
Now playing through January 8th, 2026 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.
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 19th 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 16th at Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.
An Imaginative and Daring Romeo and Juliet
in Circus Form at the
Shakespeare Theatre Company
Duel Reality
Shakespeare Theatre Company
Jordan Wright
July 6, 2025
 Gerardo Gutiérrez (Romeo) and Michelle Hernandez (Juliet) in Duel Reality at the Shakespeare Theatre Company’s Harman Hall (Photo/Zemi Photography)
Director Shana Carroll’s version of the feud between the Montagues and Capulets takes it to the next level reflecting a circus-like version with tumblers, acrobats and jugglers. The show opens with eleven acrobats and a referee who calls out, “Let the games begin!” It’s a playful boxing match with two teams – red and blue. Red or blue colored wristbands have been handed out to audience members based on which side of the theatre we’re seated. The performers encourage us to root for “our” team and the audience gets into the spirit from the get-go.
The fight consists of competitive leaps and dives and fake boxing feints as the competitors outdo each other to huge applause when their team is named the winner. Daring athletic pole work is involved while quotations from The Bard are projected over the participants. Expect to see splits, lifts, hoop diving and somersaults as Romeo and Juliet play out their romance along with the acrobats. The more complex aerial feats like the Chinese pole and the trapeze build the momentum when the rigging is revealed, and the battles and challenges escalate.
 The cast of Duel Reality (Photo/Jean Francois Savaria)
Carroll has the props. As the co-founding Artistic Director of this contemporary circus company The 7 Fingers, she directed, wrote and choreographed over a dozen of their touring and resident shows. As Co-choreographer and Circus Designer for the Broadway show Water for Elephants she earned Tony, Drama Desk and Outer Critics Circle noms for “Best Choreography”. Carroll honed her skills at Cirque du Soleil, and if you are familiar with those spectacles, you’ll recognize many of this show’s acts from hula hooping to the diabolo, aerial silks, teeterboard, juggling, trapeze, complex lifts and more. I swear Juliet turned herself inside out in a trapeze act with her Romeo!
The playbill describes the company’s international cast’s tours staging original productions from intimate one-man shows scaling up to large arena performances, Broadway musicals, artistic collaborations with renowned international artists and companies, special events, Olympic ceremonies, televised performances, fashion, art and music events, immersive experiences and so much more.
Originally produced and created with Virgin Voyages. This international cast stars Nino Bartolini, Daniela Corradi, Adam Fullick, Gerardo Gutierrez, Michelle Hernandez, Miliève Modin-Brisebois, Einar Kling Odencrants, Carlos Francos Péré, Anton Persson, Méghane Poulet, Santiago Rivera, Ashleigh Roper, Vitor Martinez Silva, and Colin Vuillème.
Musical Director and Composer Colin Gagné; Lighting Design by Alexander Nichols; Costume Design by Camille Thibault-Bédard; Benoît Rouillard, Rigger.
This exciting show is perfect for families or date nights.
Through July 20th at the Shakespeare Theatre Company’s Harman Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visitwww.ShakespeareTheatre.org
Dark Shadows Loom Largely in a Reimagining of Mary Shelley’s Frankenstein at the Shakespeare Theatre Company
Frankenstein
Shakespeare Theatre Company
Jordan Wright
May 31, 2025
 Rebecca S’manga Frank (Elizabeth), Anna Takayo (Justine), and Nick Westrate (Victor) in Frankenstein at Shakespeare Theatre Company. (Photo/DJ Corey Photography)
“The truth is I have never felt the safety of unconditional love,” is a curious statement projected in surtitles from a disembodied voice. It seems to reflect the curious sentiments of Victor, a young scientist from a prestigious Swiss family and future fiancé of Elizabeth, his adopted sister – a complicated relationship at best.
In short order we learn a child is missing – Victor’s little brother, William. The maid, Christine, has found him murdered in his room by who knows who. If you’ve seen the movie or read the book, you already do. But in this household, there is great speculation, and the finger of suspicion is pointed directly at the maid, Justine, who found the boy and soon confesses under duress. When Victor tells Elizabeth he will claim he and Justine had an affair and that she has lied to protect his reputation, Elizabeth’s Spidey-sense tells him, “You’re hiding something.” And we’re off to the races. He claims he’ll tell her everything soon, but this play is a series of his fabrications and falsehoods as he gaslights Elizabeth at every turn. You, too, may weary of all the gaslighting, especially since Elizabeth is no slouch. She’s equally sarcastic and parries his lies with snappy comebacks. And, although his fiancée constantly challenges his lofty excuses, she caves to his conniving explanations. It’s puzzling since she’s read him from the get-go.
His confounding explanation as to why, after they had announced their engagement, he disappeared for six years with little word, was he had a “fever” while at university. In truth, he was building his creature, though he tells her it was just a guy he met who needed food and a place to stay, and that he was merely being charitable, but now “the guy’s” entire extended family is seeking revenge, and Victor insists they need to run for their lives. There is dark humor in this reimagining of the classic. You just never know when it will appear.
 Nick Westrate (Victor) and Rebecca S’manga Frank (Elizabeth). (Photos/DJ Corey Photography)
Surtitles explain that Victor feels unloved and insecure. Or is it the creature talking? Hmmm… could it be one and the same? “I’ve lost faith in you,” she tells him before a passionate kiss – an unusual response after calling him out on the carpet. Throughout the play, Victor provides endless bizarre excuses for his madness and unconscionable behavior to his future wife. He is the consummate narcissist. At this point we can readily predict Elizabeth’s capitulating responses whenever he questions her love. But, hey, that’s our co-dependent whip-smart Elizabeth who just can’t seem to leave his devious clutches. To add to the confusion, the script is written in modern vernacular and current slang words. It’s confusing, as the set design is decidedly Victorian and they are dressed in Victorian era clothing.
The lighting is suggestively moody and storms presage the unexplained disappearances of humans, but it’s not until Act II that we finally meet the Creature, handsome and swarthy and sporting a mink coat. “You have made me your fallen angel,” he accuses Victor. At this point we’ve given up listening to Victor’s countless explanations for his psychosis or the Creature’s insistence on the mad scientist’s culpability. “He built me!” he announces. But we already knew that.
No complaints about this terrific cast’s ability to navigate the script. If you’re a fan of the 1960’s TV series Gothic soap opera or its 1990’s remake, “Dark Shadows”, this is one is right up your alley.
 Rebecca S’manga Frank (Elizabeth) and Nick Westrate (Victor). (Photo/DJ Corey Photography)
Nick Westrate as Victor; Rebecca S’manga Frank as Elizabeth; Anna Takayo as Justine/Esther/Voice of Caroline and Young Victor; Lucas Iverson as Creature.
Written and Directed by Emily Burns based on the novel by Mary Shelley; Scenic Design by Andrew Boyce; Costume Design by Kaye Voyce; Lighting Design by Neil Austin; Sound Design/Composition by André Pluess; Projection Design by Elizabeth Barrett; Dramaturgy by Drew Lichtenberg; Wig & Hair Design by Satellite Wigs, Inc.; Intimacy Consultant Sierra Young.
Through June 29th at the Michael R. Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.
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