Rachael F. Goldberg - Page 3

'La Casa de la Laguna' is a fascinating and thoughtful play, and carefully balances delicate conversations about statehood and independence, race, colonialism, and socio-economic status, and gender. The result is a deeply political and nuanced production that touches on issues that are as relevant today as they were in the mid-twentieth century.

'Compulsion or the House Behind' is a good show, with a strong creative team and an immensely talented cast, but it’s also a flawed one. With pacing issues and a shyness about fully facing the questions it raises, it’s often a frustrating production. But it’s a thought-provoking one for that same reason.

'White Noise' is the kind of theater that everyone hopes to experience – it grips each member of the cast and audience a bit differently, but no less fully. 'White Noise' isn’t a safe production, but it’s one that’s truly moving because of that. It’s a powerful experience, and absolutely one worth having.

'Flight' is an experience that will stay with viewers, as it should. It's an especially poignant production in the aftermath of the US withdrawal from Afghanistan, though it's also a reminder that stories like Aryan and Kabir's existed long before, and will continue to exist long after the political and military dust have settled. But Studio's production is a beautiful, clever presentation of a heart wrenching story, and perfectly captures the love, hope, and loss that drives refugees - and all of us.

With questionable messaging, a pitchy ensemble, and an overall lackluster production, 'How the Grinch Stole Christmas! The Musical' doesn’t quite feel like the best way to celebrate the holiday season, especially when there are other options available.

Theater J’s 'Tuesdays with Morrie' is a touching, emotional exploration of human connection. It’s an intimate portrait of a beautiful relationship between a man and his mentor in the face of tragic circumstances, but it’s also a greater insight into how we all relate to each other and ourselves.

Despite a solid slate of talent both on and off stage, Constellation Theatre Company's latest production just misses the mark.

Fans of the original staging of the 'Fall of the House of Usher' and theater-goers who enjoy productions with a bit of a spooky element for this time of year will likely enjoy the performance. But fans of Poe – the man, or just his other works – may need to temper their expectations.

It seems fitting, in many ways, to return to live theater with such an incredible and incredibly well told story of optimism, humor, and resilience. Theater J’s season opener is a beautiful, thoughtful biography of a woman who can remind us of the value of intimate, loving relationships and how to keep going through moments of adversity – reminders we can all certainly benefit from right now.

Monumental Theatre Company’s production of 'Songs for a New World' comes at a unique time in our society, and expertly capitalizes on this. With its strong cast and creative team, this adaptation rises to our moment and taps into our emotionality. It brings us the emotional connection and comfort that many of us have missed in the last year, and helps us take our next steps with the knowledge that we’ll be fine.

Constellation Theatre Company’s production of 'The Last Five Years' is a fun and engaging performance, but the lopsided cast undermines its core charm. That said, fans of the show will still enjoy the production, and newcomers will still find the it engaging, if a bit unbalanced.

'Luther's Trumpet' is a fair production with an interesting premise - some parts are more intriguing than others, so the overall impression leaves a little more to be desired. But those electric moments when Luther confronts his adversaries and his stirring speech at the show's close definitely elevate it beyond that 'fair' evaluation into something fascinating.

'10 Seconds' is the product of workshops and discussions between law enforcement, activists, and DC metro youth under the Imagination Stage Youth and Police program.

Kennedy Center’s latest digital stage contribution is a fantastic display of how art and education can go hand-in-hand.

'A More Perfect Union' is very short, but its brilliance is that it takes viewers on a full, deep emotional roller coaster in that brief period of time. Rona Siddiqui was given free creative reign over this project, and enlisted artists she entrusted with the same autonomy. The result is nothing short of pure, heartfelt art.

The Landless Theatre Company's sock puppet rendition of 'Urinetown' feels like a joke gone too far, with no clear audience in mind.

Shakespeare Theatre Company manages to hit all these marks in a way that’s thoughtful, engaging, and a fun experience for both the participants and the viewers.

'Torn' is a well-researched, cleverly produced production with an interesting story at its heart. The show may not live up to the theatre company’s name, but it’s an enjoyable enough production with a worthwhile tale to tell.

The production commits the cardinal sin in storytelling, telling instead of showing. This stripped, dispassionate presentation is particularly frustrating because there are moments in which the story peeks through the delivery, and we get a glimmer of something fascinating, but the story is too many times removed to make an emotional connection.

This Is Who I Am is a compelling emotional tale, defying our expected limits of technology to bring us a deep, profound human connection over a video call. With clever, layered uses of language and deeply poignant discussions, Amir Nizar Zuabi’s play shows us that human connection isn’t just possible under these circumstances, but able to thrive.