Theatrely's review of Bulrusher at the McCarter Theatre Center written by Eisa Davis

Theatrely's review of Incendiary by Dave Harris, currently playing at Woolly Mammoth Theatre Company in Washington, D.C.

Theatrely's review of Good Bones at Studio Theatre, written by Pulitzer Prize winner and 2023 Tony nominee James Ijames.

As King Lear, Patrick Page surpasses any fleeting resemblance to a specific political figure to become a real person: broken, struggling, vengeful, and terrified. To see him perform is a privilege that I’ll never forget. I’ll remember Page’s last plea for forgiveness no matter what politician is currently in power.

SHOUT SISTER SHOUT! Is in performance at Washington, D.C.’s Ford’s Theatre through May 13.

The musical, which went viral on TikTok, is now playing at Arena Stage in the Washington, D.C. area through February 19.

The production is currently running through October 9 at the D.C.-area theatre.

Jordan E. Cooper's play, coming to Broadway in November, is in performance at the regional theatre through October 9.

‍The musical from Charles Randolph-Wright and Marcus Hummon is playing in Washington, D.C. through August 28.

Robert O’Hara and Carl Cofield talk about directing Richard III and Twelfth Night, respectively, and shining a new light on Shakeaspeare.

Katori Hall’s Pulitzer Prize–winning play is now running at Studio Theatre in Washington, D.C., through July 31.

Theatrely's review of In His Hands by Benjamin Benne now in performance at Mosaic Theatre in Washington DC.

Lolita Chakrabarti's play is now running at D.C.’s Shakespeare Theatre Company through July 17.

Theatrely's review of Fairview by Jackie Sibblies Drury at the Wilma Theater in Philadelphia.

Michael R. Jackson's Pulitzer Prize–winning musical won two awards on Broadway's Biggest Night. Nathan Pugh explores its success compared to Slave Play at the Tony Awards.

Theatrely's review of John Proctor is the Villain by Kimberly Belflower now playing at Washington D.C.'s Studio Theatre.

Theatrely's review of The Upstairs Department, the world premiere of Chelsea Marcantel now at Signature Theatre.

Theatrely's review of Shakespeare Theatre Company's Our Town by Thornton Wilder in Washington D.C.

Theatrely's review of There’s Always the Hudson which performance at Washington, D.C.’s Woolly Mammoth Theatre through June 5.

Eric Ruffin, Tina Fabrique, and Kim Bey chat Marys Seacole at Mosaic Theatre with Theatrely.

Theatrely's review of it's not a trip it's a journey by Charly Evon Simpson and directed by Nicole A. Watson at Round House Theatre in Bethesda MD.

Two major Broadway musicals this year featured transcendent performances by supporting players. Here's a case for three of them: Tamika Lawrence, Samantha Williams, and L Morgan Lee.

Theatrely's review of We Declare You a Terrorist by Tim J. Lord at Round House Theatre in Bethesda.

An opinion piece from Nathan Pugh on the Oscar nominated film Drive My Car and why it just might be the definite theatre film of 2021.

Theatrely's review of Daphne's Dive at Signature Theatre in Washington DC by Quiara Alegria Hudes.

Theatrely's review of Change Agent by Craig Lucas now in performance at Arena Stage in Washington D.C. The performance includes Andrea Abello, Luis Vega, Jeffrey Omura, Kathryn Tkel, and Regan Linton.

Theatrely's review of Suzan-Lori Parks' White Noise, which is now in performance at Studio Theatre in Washington DC.

Actor Devin Kawaoka on bringing the character of Dustin to life in Jeremy O. Harris' Slave Play, now on Broadway.

This past August, the fall of Afghanistan was witnessed by people across the globe, many of us watching news coverage on our phone screens. We could hold those illuminating rectangles in the palm of our hand, watching horrors unfold. With one click, we could also make the horrors disappear. The conversion of refugees from living people to just pixels on a screen can impact how Afghan refugees are characterized in the news. During September of this year, one AP News report described “two tiny dots dropping from [a] plane,” at the Kabul airport. For journalists and storytellers, it’s an impossible task to narrate asylum seekers in real time. But weren’t those “two dots” real people? Doesn’t an abstract representation of an atrocity hide the reality of the people experiencing it?Studio Theatre’s new show Flight doesn’t resolve these questions as much as it dives deeper into them with immersive storytelling and incredible detail. Instead of running away from the small images that often dominate refugee news coverage, the show embraces them, creating countless dioramas of refugees in miniature. Flight proves that small images aren’t necessarily diminutive in their impact. In fact, the small images in Flight conjure a different sort of power, one uniquely theatrical and purposefully abstract. 

We sat down to chat with Michael Anthony Williams and David Emerson Toney, two actors in Arena Stage’s production of August Wilson Seven Guitars.

Dear Evan Hansen wants the humorous but scathing energy that Mike Lew’s Teenage Dick has in spades. The similarities between Hansen and Teenage Dick run deep. Both shows follow awkward, lonely teenage guys trying to get through high school. Both protagonists gain incredible social power through the force of their storytelling. They use this power to woo their popular love interests, and excuse their gaslighting because of their disabilities. And in the end, everything comes crashing down because of dangerous lies exacerbated by social media. Both shows have had large cultural moments this year. Hansen’s film adaptation premiered in movie theaters this past September and re-opens on Broadway this weekend. Teenage Dick, which previously ran off-Broadway in 2018, is now touring through some of the most well-known regional theatres in America. Having already played at Woolly Mammoth Theatre Company this fall, the show is now running at the Huntington Theatre Company and will head over to Pasadena Playhouse in February.

This production of Michael R. Jackson's A Strange Loop Woolly Mammoth comes after the show’s much-lauded off-Broadway production in the summer of 2019, produced by Playwrights Horizons and Page 73 Productions. The D.C. production of A Strange Loop was announced in March of 2020, right before the COVID-19 pandemic shuttered theatre across America, and right before Jackson’s won 2020’s Pulitzer Prize for Drama for the show. Woolly Mammoth isn’t known for producing musicals, yet it makes sense for A Strange Loop to be staged here. The musical has more in common with Woolly Mammoth’s past productions of experimental Black plays (like Fairview or An Octoroon) than the reworkings of classic musicals typically seen in D.C. theatre.

Lauren Yee’s The Great Leap, now at Bethesda’s Round House Theatre and streaming online, offers one potent exploration of these questions. Yee’s answer—which is vividly brought to life in this production—is to reconfigure Chinese history into a story between parents and children, mapping painful histories of nations onto the painful histories of family. In this so-called “socio-political fable,” allegory and memory are intertwined to both delightful and calamitous effect.

Birds of North America is now in performance at the Mosaic Theater Company through November 21, 2021.

Jeremy O. Harris’ historic drama Slave Play will return with a special engagement at Broadway’s August Wilson Theatre on November 23, 2021 with an official opening night slated for December 2, 2021. The play will run a strictly limited eight-week engagement through January 23, 2022.

Alex Timbers has won Best Direction of a Musical at the 74th Annual Tony Awards for his direction of Moulin Rouge! The Musical. This is his first Tony Award win and third nomination. He was previously nominated for the Tony Award for Best Book of a Musical for Bloody Bloody Andrew Jackson (2011) and was also nominated for Best Direction of a Play for his co-direction with Roger Rees on Peter and the Starcatcher (2012).

Stephen Daldry has won Best Direction of a Play at the 74th Annual Tony Awards for his direction of The Inheritance. This is Daldry’s third Tony Award nomination and win. He previously won the Tony Award for Best Direction of a Play in 1994 for his direction of An Inspector Calls, and the Tony Award for Best Direction of a Musical in 2009 for his direction of Billy Elliot the Musical. 

To honor Jeremy H. Harris and Slave Play's historic twelve Tony Award nominations, culture writer Nathan Pugh looks at how the new generation of Black playwrights have leaned on their past predecessors that have yet to have shows produced on Broadway.

Playwright Lydia R. Diamond sits down with Theatrely's Nathan Pugh to chat about her play Toni Stone at Arena Stage.

The hit musical Come From Away recently honored the 20th anniversary of 9/11 with a concert at the Lincoln Memorial in Washington, DC.

Madeline Sayet’s one-woman filmed show Where We Belong, now streaming through Washington D.C.’s Woolly Mammoth Theatre Company and Folger Shakespeare Library. Over the course of 80 minutes, Sayet gracefully explores the places she has tried to reclaim as her own—Shakespeare’s words, her Mohegan identity, her ancestors—and ultimately asks why we need to belong somewhere at all.