Play On: 20 Must-See Performances

After a nearly 18-month intermission, DMV venues are announcing a slate of in-person events, ranging from familiar favorites to bold new ventures. Although the reopenings are cause for celebration, apprehensions remain for many. Audiences and venues’ implicit pact of mutual safety is now front-of-mind for all. As many of the season’s offerings attest, though, resilience, mutual concern and a willingness to seek the truth will see us through. Read on for our picks of in-person shows and performances in the DMV this fall through summer 2022.

9.10-9.19

“Sherwood: The Adventures of Robin Hood”
In this forested farce, NextStop brings Sherwood to a bank parking lot — a sly choice of locale for this beloved story. Playwright Ken Ludwig’s fast and funny plays require actors who are fleet of foot and mouth. Director Megan Behm will keep Robin and his Merry Men motoring through sword fights and romances. Beneath the swashbuckling and swooning, the play maintains the legend’s examples of collective action and the fight for justice. NextStop Theatre Company: 269 Sunset Park Dr. Herndon, VA; nextstoptheatre.org // @nextstoptheatre

9.20-10.17

“Teenage Dick”
In a region brimming with Shakespeare, Woolly Mammoth’s provocatively titled play is both right at home and wonderfully iconoclastic. Playwright Mike Lew transfigures the bard’s villainous Richard III to a modern-day high school student who, in turning the tables on his oppressors, becomes a tyrant himself. Lew’s script complicates the standard heroic depictions of individuals with disabilities, while also examining bullying, toxic masculinity and a winner-takes-all culture. Gregg Mozgala plays Richard, a role he originated. Tony-nominated director Moritz von Stuelpnagel also returns. Woolly Mammoth Theatre Company: 641 D St. NW, DC; woollymammoth.net // @woollymammothtc

9.30-10.24

“Becoming Dr. Ruth”
Best known as America’s sex expert for over four decades, Dr. Ruth Westheimer, the play’s protagonist, has lived many lives: a child Holocaust survivor, an Israeli sniper, an immigrant. Hers is a story of finding meaning and purpose, more than once, in an uncertain world. The production also showcases the talents of two of the region’s most lauded artists: Naomi Jacobson and the actress-turned-director Holly Twyford. (Ed. Note: The author is a Theater J staff member). Theater J: 1529 16th St. NW, DC; theaterj.org // @theaterjdc

Naomi Jacobson in Becoming Dr. Ruth. Photo by Teresa Wood.

10.1-10.24

“My Lord, What a Night”
After a performance on April 16, 1937, Marian Anderson, one of the century’s most noted singers, was denied a hotel room because she was Black. Instead, she lodged at the home of Albert Einstein. Playwright Deborah Brevoort imagines their symposium that evening, which led to their real-life friendship. Brevoort also scripts educator and activist Mary Church Terrell, one of D.C.’s most influential Black figures, who helped arrange Anderson’s 1939 concert on the steps of the Lincoln Memorial. Ford’s Theatre: 511 10th St. NW, DC; fords.org // @fordstheatre

“My Lord, What a Night.” Artwork courtesy of Ford’s Theatre.

10.29-10.31

“Waitress”
Based on an indie rom-com, Sara Bareilles’ pie-filled musical “Waitress” made Broadway history in 2015 for employing women in the top four creative positions: composer and lyricist, book writer, director and choreographer. This touring production — part of the inaugural season of Broadway in Tysons — features recreated direction and choreography by Susanna Wolk and Abbey O’Brien. A semi-sweet look at setbacks, regrets, routines and dreams, the show includes a number of stand-out songs, including the instant-classic “She Used to Be Mine,” a sweeping ballad about the struggles to maintain a sense of self. Capital One Hall: 7750 Capital One Tower Rd. Tysons, VA; capitalonehall.com // @capitalonehall

11.5-11.7

DC Improv Presents Michelle Wolf
Since the Greeks, free speech has been viewed as a bedrock of democracy — a means to speak truth to power. There are few better modern examples than Michelle Wolf’s defiant and controversial performance at the 2018 White House Correspondents’ Dinner. Infamous in an instant, Wolf also honed her social and political satire working for Comedy Central’s “Late Night with Seth Meyers” and “The Daily Show with Trevor Noah.” This six-show engagement is a rare opportunity to see Wolf, one of today’s most irreverent and necessary comedians, perform new material in an intimate venue. DC Improv: 1140 Connecticut Ave. NW, DC; dcimprov.com // @dcimprov

11.30-1.2

“Once Upon a One More Time”
What happens if a group of fairytale princesses suddenly find the words to describe their dissatisfactions with Betty Friedan’s “The Feminine Mystique?” Revolution! Shakespeare Theatre’s new Broadway-bound musical flips the script on well-known fairy tales to the soundtrack of our 21st-century princess of pop Britney Spears. Husband and wife director-choreographer team Keone and Mari Madrid have previously collaborated with Justin Bieber, Billie Eilish, Ed Sheeran, Kendrick Lamar and producer Flying Lotus. Shakespeare Theatre Company: 610 F St. NW, DC; shakespearetheatre.org // @shakespeareindc

12.10 + 12.11

“Iphigenia”
The Kennedy Center’s glittering Eisenhower Theater seats 1,164 — meaning only 2,328 patrons will witness the two-performance run of “Iphigenia,” a new opera featuring a cadre of artists at the pinnacle of their respective forms. Legendary performer and composer Wayne Shorter entwines jazz and classical music alongside a libretto by Esperanza Spalding, considered jazz’s greatest 21st-century genius. World-renowned architect Frank Gehry will design the sets. Director Lileana Blain-Cruz, adept at nonlinear storytelling and striking visuals, makes her D.C. debut. The Kennedy Center: 2700 F St. NW, DC; kennedy-center.org // @kennedycenter

Wayne Shorter. Photo by Robert Ascroft.

2.3-2.27

“La casa de la laguna” (The House on the Lagoon)
Rosario Ferré was one of Puerto Rico’s leading writers. For four decades, she explored the island’s complex politics and culture, often through a feminist lens, in fiction, poetry and essays. Her 1995 novel “La casa de la laguna” was her first work published in English and a finalist for the National Book Award. Caridad Svich, a playwright fluent in all languages of the theater, adapts Ferré’s multi-layered dissections of truth, marriage, identity and class for the stage. The story centers on a woman’s attempt to write the tangled histories of her and her husband’s families as Puerto Rico evolves over seven decades. GALA Hispanic Theatre: 3333 14th St. NW, DC; galatheatre.org // @teatrogala

2.21-3.13

“The Servant of Two Masters”
Synetic Theater, now celebrating 20 years of its unique mix of beautiful choreography, physically daring and striking visuals, and entirely wordless storytelling, ends the season with an adaptation of “The Servant of Two Masters,” a commedia dell’arte classic. The farce theater piece has been a wellspring of comedic tropes, from slapstick humor to gross-out jokes, for 500 years. The play’s plot twists and turns, but in the end, love sticks. Synetic Theater: 1800 South Bell St. Arlington, VA; synetictheater.org // @synetictheater

3.25-4.10

“Tarot Reading VI”
Catching lightning in a bottle is thought impossible — though the aptly named Arcanists may have discovered how. Since 2016, the itinerant theatre collective has created some of the region’s most inventive works, none more so than their ongoing “Tarot Reading” series, now in its sixth installment. Dubbed “interactive, creative nonfiction,” each performance is unique. A selected audience member draws tarot cards, summoning theatrical but true stories from performers. With the disarming aesthetics of a D&D basement lair, The Arcanists pull off the real magic of theater that banishes the line between artist and audience and art and artifice. Theatre on the Run: 3700 South Four Mile Run Dr. Arlington, VA; thearcanists.org // @arcanistslab

3.26-4.23

“Yoga Play”
In the U.S., the yoga industry generates nearly 12 billion dollars annually. Dipika Guha’s provocative comedy “Yoga Play” examines the West’s appropriation and rampant commercialization of yoga’s traditional search for physical and spiritual well-being. Centering on Jojomon, a high-end U.S. yoga company undergoing a PR crisis, “Yoga Play” is a timely production that explores the real price of a so-called quick fix. Founded in 1996, Keegan Theatre feels like a neighborhood spot, bringing big stories to its intimate space on a tree-lined street. Keegan Theatre: 1742 Church St. NW, DC; keegantheatre.com // @keegan_theatre

4.5-5.8

“it’s not a trip it’s a journey” + “We declare you a terrorist…”
For the inaugural — and tautologically named — National Capital New Play Festival, the theater will produce two world premiere plays. Charly Evon Simpson’s “it’s not a trip it’s a journey” sees four Black friends trek from New York to the Grand Canyon; Tim J. Lord’s “We declare you a terrorist…” depicts a man haunted by being held hostage. Each play explores the distances we go to find some measure of understanding and overcome the forces that divide us — even within ourselves. Round House Theatre: 4545 East-West Hwy. Bethesda, MD; roundhousetheatre.org // @roundhousetheatre

4.12-4.17

“Come From Away”
Based on the real-life events after 7,000 people sought refuge in a tiny Newfoundland town immediately following the terrorist attacks of September 11, “Come From Away” is a rare success story which proves human kindness — and imagination — has not run dry. A poignant reminder of our collective response to tragedy, the show’s messages of resilience, hope and hospitality in the face of tragedy are more vital today than ever. The globe-trotting Canadian musical received an out-of-town tryout at Ford’s in 2016, and has since landed a bevy of nominations and awards. National Theatre DC: 1321 Pennsylvania Ave. NW, DC; thenationaldc.com // @broadwaynatdc

4.12-5.15

“Cambodian Rock Band”
Like a feedback loop, Lauren Yee’s award-winning play “Cambodian Rock Band” was inspired by a concert — and is a concert, kind of. After seeing Dengue Fever, a band inspired by Cambodia’s raucous but brutally suppressed ‘60s and ‘70s music scene, Yee was hooked. Dengue Fever’s music became part of the soundtrack for her time-bending play about a man who fled from the Khmer Rouge, only to return 30 years later with his justice-seeking daughter. The cast of actor-musicians embody the joy, defiance and necessity of artists finding the means to create, even during the darkest of times. Chay Yew, one of this country’s premier directors, makes his second D.C. appearance. Arena Stage: 1101 Sixth St. SW, DC; arenastage.org // @arenastage

5.4-5.29

“Marys Seacole”
Mary Seacole, the play’s protagonist who is based on a real-life 19th century Jamaican nurse, is many things: a caregiver, an entrepreneur, a fabulist and an immigrant. She also refuses to be anything less than extraordinary, in her work, her fortunes and her self-promotion. As a follow-up to the 2018 Pulitzer Prize-winning play “Fairview,” playwright Jackie Sibblies Drury presents a layered script, with a title character who repeatedly recreates herself. Scenes and time periods slide and crash into each other as the play surveys the historic and enduring realities of Black caretakers and white patients. Mosaic regular Eric Ruffin directs. Mosaic Theater Company at Atlas Performing Arts Center: 1333 H St. NE, DC; mosaictheater.org // @mosaictheaterdc

5.31-6.3

“We Won’t Sleep”
“I may be the first woman to hold this office, but I won’t be the last.” Kamala Harris’ frequent quote echoes another first female office holder, Rep. Jeanette Rankin. A lifelong activist, suffragist and pacifist, Rankin was elected to the House from Montana in 1916. “We Won’t Sleep” presents a catchy, pop-inflected score by Ari Asfar (“Hamilton” and “American Idol”) and book by Lauren Gunderson, whose prolific and well-produced catalogue includes many plays with a feminist edge. Called “more than a musical — a mission,” the all-female creative team is committed to a diverse cast, ethical production methods and community activism and education. Signature Theatre: 4200 Campbell Ave. Arlington, VA; sigtheatre.org // @sigtheatre

“We Won’t Sleep.” Artwork courtesy of Signature Theatre.

6.1-6.5

“NEXTsteps”
With deep roots in European courts and literature, ballet can seem out-of-touch and immovable to many. To keep the art form growing and responding to contemporary society, The Washington Ballet commissioned new ballets from three choreographers for its NEXTSteps initiative, which will conclude the Ballet’s season. Already-announced participants include Jessica Lang, a New York choreographer with over 100 pieces to her name, and Mthuthuzeli November, a South African choreographer who won the prestigious 2020 Olivier Award for Best New Dance production, the U.K. analog to the Tony’s. A third choreographer will be announced soon. The Washington Ballet: 3515 Wisconsin Ave. NW, DC; washingtonballet.org // @thewashingtonballet

“The Hot Wing King”
Studio Theatre will end its season with Katori Hall’s newly-crowned Pulitzer Prize-winning play. In “The Hot Wing King,” Hall returns to Memphis, her hometown, in another story looking at the intersections of racism, family, Black masculinity and authenticity. The play follows Cordell and his partner Dwayne, who have high hopes of winning a hot wing competition until a family emergency alters their plans. Steve H. Broadnax III, who directed the play’s lauded premiere at New York’s Signature Theatre, one of Hall’s artistic homes, returns. Studio Theatre: 1501 14th St. NW, DC; studiotheatre.org // @studiotheatre

“The Tempest”
Folger Theater’s upcoming production of Shakespeare’s tale of magic, power and restoration is a big reunion. Co-directors Aaron Posner and Teller (yes, that Teller) first worked together on Folger’s Macbeth, another supernatural play, in 2008. Their “Tempest” is back for its fourth time, previously appearing in Boston, Las Vegas and Chicago. The shape-shifting dance company Pilobolus brings the setting’s magical creatures to vivid life, while a live band belts out Tom Waits and Kathleen Brennan tunes. Seeing how the team will handle the increasing focus on the play’s connection to colonialism and depictions of enslavement will merit attention. Folger Theater (co-produced with Round House Theatre): 4545 East-West Hwy. Bethesda, MD; folger.edu/folger-theatre // @folgerlibrary

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