Photo: Courtesy of atlasarts.org
Photo: Courtesy of atlasarts.org

An Iliad Brings Epic Poetry to the Modern Age

The Poet begins by reaching for something that might help him recall the details of the story of Achilles and his historic battle against Hector of Troy. He extends his arms, grasping toward the audience, to no avail. After a crestfallen sigh, he begins his invocation to the Muses, not unlike those epic poets of old. He asks them for their blessing in retelling this story, and seeks their inspiration to help him recall the details of this woeful tale of man’s rage. The Poet’s petition to the Muses must have brought on blessings in real life, considering the expertise with which this tale was so beautifully and carefully told.

Iason Togias, our Poet and only source of information, does a fantastic job of giving the epic tale context our modern society can easily relate to. His incredible range of expression helps illustrate the many emotions the characters in this play experience, from impatience, pride, heartbreak, victory, despondency and everything in between.

Matt Chilton was our Muse, who without a word, perfectly punctuated the poetic dialogue with tidbits from his double bass, coupled with wayward glances at the audience and a knowing exchange with the Poet here and there.

An Iliad was carried on words and gesture alone; a case in point being that the only scene in this play was a study setting, with a desk, a chair, a globe and some books strewn about. By the time the play is over, you hardly even noticed the backdrop because Togias’ arresting performance has given you a guided tour around the city of Troy.

Lisa Peterson and Denis O’Hare took on the arduous task of adapting a frequently studied work of classic literature and made it even more relatable than the best college lecturer could (and you can take my word for that, since my only experience with this story comes from that very setting).

Since the work was originally published and first performed five years ago, director Conor Bagley had to make some additions to give us the most current iteration of events. This particular version of the story even incorporated a reference to Flint, Michigan in regards to the composition of the Greek army. The idea behind it was to illustrate the various backgrounds of the soldiers in the army. As one of few people of color in the intimate black box theater setting, it took on added significance of asserting that there were, in fact, people like myself living, existing and participating in these environments (a fact that is often , unfortunately, glossed over in modern interpretations of works like these).

Another particularly captivating moment was when Togias recited every single war known to have taken place in the world (which must have been a real feat to memorize), just to prove a point about how widespread and, unfortunately, uncommon it is to feel the effects of war and to experience the profound rage and grief that Achilles and Hector both felt in their battle.

The play was especially relatable, even with my boyfriend and I’s limited experience with Homer’s original work, because the dialogue (or monologue if you don’t believe in breaking the fourth wall) appealed to a range of human emotion which is timeless in its potency. It had the air of a much-needed crash course in Greek mythology but still referenced lots of current events (like the conflict in Israel, for example).

Though the play will soon conclude its run, I would definitely keep my eyes peeled for future productions by any member of the cast and crew of this stunning performance.

An Iliad will be showing at Atlas Performing Arts Center the show until June 9. Tickets are $15-$25 and can be purchased here.

Atlas Performance Arts Center: 1333 H St NE, Washington, DC 20002; www.atlasarts.org

Photo: Wilson Chin
Photo: Wilson Chin

Studio Theatre’s The Remains: World-Premiere Comedy Explores Gay Divorce

Stories about failed relationships are nothing new in theatre, as many a play have tackled the subject – be it with humor or on a more serious, darker level. But Studio Theatre is presenting a new work that puts a different spin on the subject, with Ken Urban’s world-premiere play The Remains, which explores a gay couple going through the process of a divorce.

The play follows Kevin and Theo, a Boston-based gay married couple, who 10 years after their historic coupling decide marriage isn’t for them and must reveal their truth to loved ones. Urban based the comedy loosely on events from his own life.

“I got divorced from my partner of 18 years in 2015,” the playwright says. “I filed the paperwork just about the same time that the federal same-sex marriage ban was removed, so it seemed like an interesting time to think about those two things together. It also got me thinking about what it means to be in a relationship, and what it means to be in love.”

Urban notes that those in the LGBTQ+ community are only a few years into the whole concept of being asked, “When are you two going to be married?” He’s acutely aware of that pressure and understands that with gay marriage sometimes comes gay divorce.

“Before marriage for gay men and women was an option, we had to define what we meant by being in a relationship,” he says. “When I first met my partner in 1996, I didn’t know any other gay couples and what it meant to be in a long-term gay relationship. With marriage, you can try and rearrange the definition, but more pressures suddenly come upon you.”

Actor Glenn Fitzgerald plays Theo, and stage and TV vet Maulik Pancholy (Weeds, 30 Rock) stars as Kevin. Urban wrote the part with him in mind and asked his friend to take on the role. The two had previously worked together on Urban’s The Happy Sad in 2009 and The Awake in 2013.

“He is an incredibly sensitive actor and someone who dives really deep into himself when he’s working on a part,” Urban says. “What I love about Maulik is you can give him all types of challenges offstage, and he always rises to them.”

For his part, Pancholy was excited about tacking dramatic terrain that hasn’t really been explored in theatre onstage before, especially being a gay man himself.

“What is fascinating about this is it’s one of the first gay-themed plays that I’ve read that isn’t about the fight for equality or the fight to be treated as an equal human being, and yet it is,” he says. “We are in a time period now where, thank God, we won a lot of those rights – though given the current temperament, things can feel a little tenuous at times – and there’s still a long way to go in the way LGBTQ+ people are perceived in our society.”

Furthermore, he was intrigued at how Kevin and Theo’s story impacted those around them – those who had seen them fight so hard to be treated as equals and were now watching it be torn apart. Though it has nothing to do with his real life – Pancholy is happily married – he thinks it’s an important story to be told.

“In my own wedding, there was a sense of it being more special than a heterosexual wedding because with it comes all the history and legacy for the fight of equality, and a lot of hopes pinned on that and a lot of meaning attached to that kind of love.”

Pancholy says the play posits the question, “What does it mean when you fought so hard for the right to love, but then find you may not want to be with that person you fought to be with – not just for the couple, but those around them?”

Studio Theatre’s Artistic Director David Muse is directing the play and was brought to the project by Pancholy. The pair went to graduate school together at the Yale School of Drama.

“We’re friends and we last worked together about 16 years ago,” Muse says about Pancholy. “The chance to have an artistic reunion with him was a big reason why I wanted to do this. He acted in more plays that I directed [in school] than anyone else – something like five times!”

The director shares that the play also sits in Studio’s sweet spot in that it’s a realistic, living-room drama with funny, emotional things going on, and he likes the fact that it’s something of a “next generation” gay play.

“There are a series of plays with contemporary themes dealing with what I call ‘second-stage assimilation’ concerns: questions like gay parenthood and squaring the idea of monogamous marriage with a more liberated approach to sexuality that we tend to associate with gay culture,” he says. “Watching the gay play evolve on some level with less to struggle against really interests me.”

The Remains is at Studio Theatre through June 17. Tickets start at $20. For more information, visit www.studiotheatre.org.

 Studio Theatre: 1501 14th St. NW, DC; 202-332-3300; www.studiotheatre.org

Woolly Mammoth Botticelli in the Fire

Stage and Screen: The Remains, The Tempest and More

THROUGH SATURDAY, JUNE 9

An Iliad
The Iliad is one of Homer’s great tales, culminating in a heartbreaking battle between Prince Hector of Troy and Brad Pi…I mean Achilles, one of the greatest warriors in fictional history (any time your name becomes nomenclature for a pesky body part, you know you’re a legend). Conor Bagley’s version at Atlas Arts is a modern retelling, settling on a more personal story between the two powerful mortals. While the description throws a ton of adjectives to focus on, the one highlighted heavily is that of rage and why the intoxicating feeling is so hard to control but easy to unleash. Tickets are $15-$25. Atlas Performing Arts Center’s Lab 1: 1333 H St. NE, DC; www.atlasarts.org

THROUGH SATURDAY, JUNE 16

Laugh Index Theatre’s Annual Comedy Festival
This festival is a smorgasbord of comedy, featuring a variety of acts from all over the country. Over the course of a few weeks, and at several venues, there will be improv teams, sketch teams, musical comedy, stand-up (duh) and podcasts all dedicated to making you laugh. So no matter what tickles your fancy, your funny bone will be scratched (no not the area on your arm, don’t be weird). Performances at various locations. Ticket prices vary. LIT Annual Comedy Festival: Various locations around Washington, DC; www.laughindextheatre.com

THROUGH SUNDAY, JUNE 24

Botticelli in the Fire
What do artists do when faced with a populist takeover of the societies their work reflects? There’s no right or wrong answer, as those kinds of regimes often are accompanied by attempts to censor or deride anything seen as contentious. Does this sound relevant? Yeah, that’s what Woolly Mammoth’s Botticelli in the Fire wants you to take away, as it draws comparisons to the current political climate and that of the famed artist during the populist revolution in Lorenzo de’ Medici’s Florence. Faced with numerous choices throughout, Botticelli must make decisions with no easy answers. Tickets are $20-$51. Woolly Mammoth Theatre Company: 641 D St. NW, DC; www.woollymammoth.net 

The Remains
Yes, The Remains does sound like the title of a straight-to-video knockoff of HBO’s The Leftovers (fun fact: Nick Cage actually stars in this very thing, a little remake titled Left Behind), but Studio Theatre’s play is anything but. Instead of a story centered around people vanishing into thin air (*snap*), this story focuses on the 10-year marriage of Kevin and Theo, who host a dinner party to celebrate their newly renovated condo. As families tend to upon gathering together for an occasion, philosophy and truth come to the forefront, pulling the curtain on their thought-to-be perfect union. Learn more about the production in Keith Loria’s story on page 6. Tickets start at $20. Studio Theatre: 1501 14th St. NW, DC; www.studiotheatre.org

THROUGH SUNDAY, JULY 1

The Tempest
A classic comedy by the classic hitmaker William Shakespeare, The Tempest is a veteran of the theatre scene and one which commands a certain respect. I have little doubt the folks at Avant Bard will deliver the show with their own offbeat twist. The story is filled with love and magic and of course, riddled with conflict. It wouldn’t be a Shakespeare special if it didn’t also contain a smidge of tragedy as well. Tickets are $30-$35. The Gunston Arts Center: 2700 S. Lang St. Arlington, VA; www.wscavantbard.org

WEDNESDAY, JUNE 6 – SATURDAY, JUNE 23

Switch
If you thought the most intriguing body-switching tales involved those of kids and their parents (as seen too many times in pop culture, so excuse me for not listing), you’re wrong. Switch takes the premise and flips it on its head, as the story involves a couple who wake up in one another’s bodies following sex. What follows is the two deciding to explore their boundaries with their gender-fluid friend Lark. Written by Brett Abelman and directed by Megan Behm, this play depicts a world “where sex, gender and sexuality intertwine.” Tickets are $25. Trinidad Theatre at Logan Fringe Arts Space: 1358 Florida Ave. NE, DC; www.capitalfringe.org

TUESDAY, JUNE 19 – SUNDAY, JULY 22

Ain’t Too Proud – The Life and Times of The Temptations
The Temptations are arguably one of the greatest musical acts of all time, so it’s nice to see their story get the recognition it deserves as Ain’t Too Proud – The Life and Times of The Temptations comes to the Kennedy Center this month. The performance is biographical in nature, following the five young men who would eventually emerge from Detroit, Michigan as The Temptations. The play was penned by Dominique Morisseau and features hits like “My Girl,” “Just My Imagination” and “Papa Was a Rolling Stone.” Tickets start at $59. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; www.kennedy-center.org

SATURDAY, JUNE 23 – SUNDAY, JUNE 24

RebollarDance
Erica Rebollar returns to DC to celebrate the tenth anniversary of her works with a new piece titled Variations. According to Dance Place, this piece is a meditation on the choreographic method, or theme and variation. All that being said, this seems like a very meta dance piece, as the focus is about the construction of an actual dance choreography. Though art about art can sometimes be confusing for neophytes, this performance is likely to avoid the possible pitfalls and be enjoyable for all. Tickets are $15-$30. Dance Place: 3225 8th St. NE, DC; www.danceplace.org

APO DROMP

American Pops Orchestra Defies Norms with Unique Performances and Pop Singers

This isn’t your grandfather’s orchestra. With a focus on American popular music spanning from the Revolutionary War era to today, conductor Luke Frazier brings new life to a dying art with American Pops Orchestra.

On May 19, APO will perform its latest show, Let’s Misbehave: Cole Porter After Dark, featuring Australian pop-singer Betty Who, at Arena Stage. Frazier says this show will focus on the greatest hits from Cole Porter, a famous American composer from the 1920s-40s.

“What I’m trying to do with this show is say that Cole Porter’s music is as relevant today as it was seventy, eighty or ninety years ago,” Frazier says. “It is timeless music, and it’s not just something for old folks to listen to.”

Frazier notes that Porter was known for being naughty and edgy during his time, writing songs with titles like “I’m a Gigolo” and “You’re the Top.” With this show, Frazier wants to tie themes from Porter’s music in with messaging from dating apps to show younger audiences that this music isn’t just for their grandparents.

Frazier also plans to connect with a younger crowd by including some of Betty Who’s own music in the program alongside Porter. The singer, born Jessica Anne Newham, attended Berklee College of Music and has played cello since she was only four years old, unbeknownst to many of her fans. For her, the chance to perform with an orchestra is “a dream come true.”

“It’s my dream one day to perform at the Hollywood Ball with an orchestra performing some of my music,” she says. “I thought it was such a pipe dream so far down the line, and to be able to do it a little sooner is the coolest thing in the world.”

Frazier started American Pops Orchestra in 2015 after realizing how many orchestras were dying, and wondering what he could do to change that. He compared himself to David and Goliath with undertaking this task, but so far, it seems to really be working.

According to Orchestra Facts: 2006-2014, a report commissioned by the League of American Orchestras, orchestra audiences declined by 10.5% between 2010 and 2014, with 60% of the 65 League member orchestras reporting a drop in overall attendance in these same years.

On the other hand, Frazier reports that APO’s audience is actually growing—they’re even expanding their 2018-2019 season, which will be released on the eve of the Cole Porter show, at a time when most orchestras are shrinking their programs. Frazier attributes his success to the unique experience that each APO show offers its audience.

“I decided that I wanted to start my own group focused on American popular music because so many people connect with it on such an emotional and visceral level; it’s part of so many people’s lives,” he says. “I wanted to do it in a way that’s not the normal pops orchestra way.”

To Frazier, the normal pops orchestra way is to walk into a performance, sit 50 rows back from the stage full of musicians in tuxedos, and listen to a show that’s been done time and time again. With American Pops Orchestra, he hopes to give audiences a fresh take on a classic form of entertainment.

“I wanted to assemble a group that includes extremely high caliber musicians, and creates new shows all based on American pop music, but every single show is brand new and hasn’t been performed anywhere else,” he says. “This way, the audience can have a truly unique experience.”

Let’s Misbehave: Cole Porter After Dark: 8 p.m. Tickets from $20-$110; theamericanpops.org. Arena Stage: 1101 6th St. SW, DC; www.arenastage.org

 

 

 

Shakespeare_YPN_051118 (18)

Young Prose Night: Shakespeare Theatre’s Waiting for Godot

Shakespeare Theatre hosted Young Prose Night for its production of Waiting for Godotwhich included a post-show reception with a complimentary beer or wine. Photos: Trent Johnson

Photo: Scott Suchman
Photo: Scott Suchman

WNO Honors Bernstein with Candide

Add the Washington National Opera to the list of those celebrating what would have been the year of the 100th birthday of Leonard Bernstein, as it presents the composer’s notable take on Voltaire’s biting satire, Candide through May 26 at the Kennedy Center.

Featuring classic tunes such as “Make Our Garden Grow” and “Glitter and Be Gay,” this version of Candide marries a triple threat of theater, dance and opera. Bernstein wrote a piece with so many different layers, many compare it to his personal love letter to Europe.

Eric Sean Fogel is the associate director for the show, and has also served as choreographer on the project since 2015. He says the best way to describe the performance is to talk about how not to describe it.

“We start right off the bat by not categorizing the production; we don’t say it’s an opera, operetta or a musical, or a dance piece for that matter,” he says. “It’s kind of everything, and that’s how Bernstein and his collaborators wrote the piece. It’s a world onto its own.”

However, Fogel shares, what audiences can expect to see are 12 massive production numbers and a journeying piece of a young man trying to figure out who he is by exploring the world and searching for both his love and his reason.

This current production is the fifth remount of the show. It all began when Fogel would meet with Francesca Zambello the director, Jennifer Moeller the costume designer and Jim Noone the set designer, once a month for a year to slowly go through and talk through the piece to figure out how to tell the story of 13 locations effectively on stage.

“It does have a cinematic, huge sweepy feel to it that takes a lot of time to plan out scenically and costume- and design-wise,” Fogel says.  “After a year, we settled on this base look of a French warehouse that can be transformed by moving trunks and platforms into any scenario we would like — from boats in Venice to a Bavarian battlefield.”

Throughout the show, there’s also a mish-mash of different period costume pieces for the ensemble, so they could quickly put on a jacket or necklace and represent a different character in a different county.

“We decided the most facile the design could be, the more brevity we could have in the storytelling,” Fogel says. “This is a story that’s already incredibly dense, so you want to keep it moving along and not weigh it down with additional design element. It’s almost like we’re doing the stage version of ‘It’s a Small World’ because it’s such a massive journeying piece and you just want to get different flavors of all the different cultures you go through.”

The show is comprised of a company of 34 singers, actors and dancers and unlike most opera productions, everyone sings, acts and dances like a true Broadway ensemble.

DC’s own Denyce Graves plays the character of “Old Lady.” Although she’s never done a Bernstein production before this, Graves does have a history with him as when she was 14, she made a PSA commercial with the legendary composer.

“I didn’t really know who he was at the time, but of course, over the years I learned he is one of our greatest musical giants,” she says. “This being the centennial, when I was offered the role, I thought it would be a wonderful opportunity. I had known the music of course, but had never seen the work and was curious, interested and excited.”

Regardless of whether people are fans of opera or theater, Graves feels people are really going to enjoy this show.

“It has a lot of the melodies that people have heard throughout the years—everyone has heard ‘Glitter and Be Gay’— and this production is so spectacular,” she says. “It’s so detailed, so funny and I the audience will have a wonderful time.

The production also features Alek Shrader as Candide, Emily Pogorelc as Cunegonde and Wynn Harmon as Pangloss, Voltaire.

Fogel believes that when audiences leave, they will contemplate how to make the world a better place.

“It’s such a beautiful message of someone finding their purpose,” he said. “It’s poignant, has a lot of heart and offers great humanity throughout.”

For information and tickets to the show, click here.

The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; 202-467-4600; www.kennedy-center.org

Photo Courtesy of The Kennedy Center
Photo Courtesy of The Kennedy Center

Hamlet Comes to the Kennedy Center


hamlet picHamlet, the mysterious and brooding Prince of Denmark, is one of Shakespeare’smost iconic characters- but, 27-year old Paapa Essiedu takes this role to another level. 

Essiedu made history back in 2016 when he was cast as the first black actor to take on the role at Stratford-Upon-Avon. While his Hamlet still goes mad with grief after the death of his father, and the betrayal of his mother Gertrude, who then immediately marries Claudius, his uncle, Essiedu’s Hamlet is also loving , witty, funny, sarcastic, and charming … in fact, he drives the audience mad with his performance, as we decide whether we love him, hate him, feel for him, or if we just want to get on stage and slap him out of his lunacy. One thing is for sure- we can’t stop watching him.

Simon Godwin’s West-African inspired production of Hamlet is bright with color, humor, and heart. The play begins, quite literally, with a bang as a loud gunshot goes off at the moment Hamlet receives his degree from Wittenberg University.

We follow Hamlet as he transforms into a Basquiat-inspired graffiti artist who hatches a plan to reveal Claudius’ immorality, and later brutally rejects Ophelia (Hamlet really does prove that a good woman’s love cannot save a man from himself).

The focus of this production, which is brought to life by the Royal ShakespeareCompany, is much less on the politics of the play (although it is implied that Claudius is perhaps an evil dictator – he did after all kill his own brother), and much more about processing trauma. What people do to heal, what people do that hurts, the vulnerability, the longing for support and help, and the innate mistrust that happens when something as devastating as losing a parent occurs.

Watching Mimi Ndiweni as Ophelia sing sadly and rip out her hair in her madness after the death of her father is both terrifying and heartbreaking. My heart dropped as I watched Laertes come to the realization that his vibrant sister was gone forever.

Aside from the acting, the incredible set design by Paul Wills, and the music,dancing, and drumming keeps the audience enthralled in this West-African state of Denmark. This Hamlet feels at once contemporary and incredibly timeless. The play’s the thing … and you, much like our protagonist Hamlet, will be quite mad if you miss this production.

Royal Shakespeare Company’s Hamlet runs through May 6th at the Eisenhower Theater of The Kennedy Center

 

https://www.roundhousetheatre.org/
https://www.roundhousetheatre.org/

Euan Morton Headlines Round House Theatre’s Broadway in Bethesda Gala

Broadway vet Euan Morton has played a handful of attention-grabbing roles in the theater, beginning with his Tony-nominated performance as the iconic Boy George in Taboo in 2003, and currently donning the cape and crown each night as King George in the mega-smash Hamilton. In between, he played the namesake character in Hedwing of Angry Inch in the touring production of John Cameron Mitchell’s landmark musical.

On Saturday, May 12, Morton will be the headline performer at Round House Theatre’s Broadway in Bethesda Gala 2018. The silver-piped singer promises to perform tunes from each of the three musicals above.

“I’ll be singing a lot of the stuff that people know and love and I’ll be doing some stuff that I’ve never done before, which always makes me nervous,” Morton says. “I’m doing more musical theater because it’s the world I’ve been involved in a lot more recently and I love it.”

One of the new numbers he’ll be doing is “Another Hundred People” from Company, a song he’s always enjoyed but has never performed live.

“It’s sometimes difficult when you can do anything because you don’t want to make the evening a bunch of disconnected music, but I’ve done a lot of different stuff, so I’m trying to tie it together and make it a cohesive evening,” he says. “I want to do songs I’m going to walk away feeling good about and that I think an audience will enjoy.”

Morton has been friends with Round House’s executive director Ed Zakreski for many years, and when asked to take part in the gala, he was more than happy to take a night off from Hamilton to help the theater raise some money.

“It’s important for me to support theater in the Northern Virginia and DC region because I have a home there and I’ve performed in a number of theaters in the area,” Morton says. “For me, it’s been as much a part of my theater life as New York has or London has, and I feel it’s important for me to give back to this community.”

The area’s proximity to New York combined with the patrons and audience of savvy theatergoers has made the DMV theater community one of the best in the country, and he considers it an artistic enclave.

When his nights aren’t tied up on the Broadway stage, Morton and his family—which includes his wife (producer Lee Armitage) and son (Iain Armitage, who plays the title character in CBS’s hit comedy Young Sheldon), enjoy visiting the myriad theaters in the region.

“It’s a spiritual place for my family and we are all involved in this great theater community,” Morton says.

He’s been playing King George in Hamilton since July 2017, and has really been blown away by the fandom of the show and how the musical continues to be such a dominating force on Broadway.

“I do feel that the actor playing the king is less relevant than the king himself, and the fans are coming to see the character, not me,” he says. “I love getting to stand on stage and say things like, ‘na, na, na, na, na.’ This show has shown the importance of politics in theater and has been like a supernova with fans all over the world. It’s been really nice to be a part of this.”

When considering new roles, Morton says he looks for things that are challenging and ones he’ll enjoy repeatedly without getting bored. He considers himself very lucky to have played the roles he has.

“It’s been continually exciting and challenging as everything I’ve done has been,” he says. “There’s not a moment where I thought, ‘Can I do this anymore?’ because every time I have that feeling, something new comes along and reminds me of why I’m doing it and how much it means to me and other people.”

The night will also include a silent auction and a performance from Catherine Backus, a finalist at the 2018 Bernard/Ebb Awards who was the 2017 General Category winner of the Merlefest Chris Austin Songwriting Contest.

For information about the gala, visit the Round House Theatre website here.

Round House Theatre: 4545 East West Hwy. Bethesda, MD; 240-644-1100; www.roundhousetheatre.org

Photo: Lydia Daniller
Photo: Lydia Daniller

BOYS IN TROUBLE Tackles Toxic Masculinity Through Dance

BOYS IN TROUBLE is a dance performance, but it’s not only a dance performance. The show is radically different than what most modern dance is – abstract movements perpetually difficult to follow for the untrained eye. Instead, this piece is based on storytelling, and it’s deeply understandable and relatable.

“The first thing people need to know is it’s not boring modern dance,” choreographer Sean Dorsey says. “Most people feel like they don’t ‘get’ modern dance, and for good reason. It’s pretty inaccessible!”

The actual product isn’t the only aspect that sets BOYS IN TROUBLE apart from what you might normally see at Brookland’s Dance Place, the show’s DC host on May 19 and 20. Much like Dorsey’s other works, the project focuses on masculinity from a transgender and queer viewpoint.

“We do this through full-throttle dance, highly-physical theatre and vulnerable storytelling,” Dorsey says. “One minute we’re flying through the air doing super technical and rigorous dancing, the next minute we’re delivering dialogue and irreverent humor, and the next minute we’re doing movement with storytelling.”

This kind of subject matter is a reflection of previous works by Dorsey, who is seemingly unanimously titled the first acclaimed transgender modern dance choreographer. His company Sean Dorsey Dance is located in San Francisco.

“As a trans person, I grew up without ever seeing a single other transgender modern dancer, let alone a choreographer. I’ve been so alone on this journey in many ways, all the while facing harsh barriers, judgement and questions from the world. This project pushed me to unleash some defiant energy and righteous, proud anger – and sass.”

With the titles and recognition, Dorsey feels a deep sense of responsibility, creating a huge amount of pressure each time he begins to craft a new work.

“I had to dance myself into being. I had to insert trans bodies and stories into dance. I care so deeply for my people – for my trans and gender-nonconforming communities – that I often take on too much, and work too hard.”

A piece with this kind of emotional weight doesn’t form overnight; Dorsey began initial research on the project three years ago. A year later, he began hosting free community forums on masculinity, led transgender-supportive dance classes and taught self-expression workshops for anyone willing to partake.

“The themes that arose in these communities guided me as I built the show, which is also built around the dancers’ own experiences and life histories,” he says. “After working for two years creating a show, you wait for a moment when you know that the piece is complete. There were several deep themes related to masculinity that I really, really wanted and needed to get into – sections that explore shame, body shame and questions of self-worth. These lie under everything that is toxic about masculinity.”

While the process of developing what would eventually become BOYS IN TROUBLE began years ago, Dorsey is not surprised that the topics he chooses to tackle are still wholly relevant to society. In his view, these issues have perpetually existed within society’s collective subconsciousness.

“When I started this project, I could not have imagined how timely and even more urgent it would become. Here’s the thing. Toxic masculinity, racism and white supremacy, transphobia, body shame and gender norms – none of these things are new. These things have plagued us ever since this country was founded on invasion, genocide, slavery, segregation, internment, and the criminalization of trans and queer bodies and love.”

All of Dorsey’s dance is uniquely educational about the transgender experience and has been performed all around the country on several tours, but he still feels a lack of acceptance from his own community on a wider scale. Though his work is routinely critically acclaimed and celebrated, he still sees barriers within the medium – walls he hopes to eradicate, one piece at a time.

“In ways, the dance field has not changed,” he says. “The field still actively excludes trans and gender-nonconforming people. I am now asking the field to call this a crisis. The barriers are massive and numerous. My national education program, TRANSform Dance, addresses these, and through trainings, workshops and performances, we are working with the field to change.”

One of those performances is BOYS IN TROUBLE, and Dorsey is excited for the District to see his work.

“If you love the theatre, I guarantee you will be moved deeply and laugh out loud. You will leave with your heart cracked open and transformed. It’s a very, very powerful show.”

BOYS IN TROUBLE will be performed at Dance Place on Saturday, May 19 at 8 p.m. and Sunday, May 20 at 7 p.m. Tickets are $15-$30. Learn more at www.danceplace.org.

Dance Place: 3225 8th St. NE, DC; 202-269-1600; www.danceplace.org

The Scottsboro Boys

Stage and Screen: May 2018

THROUGH SUNDAY, MAY 20

Snow Child
Arena Stage adapted Eowyn Ivey’s Pulitzer-finalist novel, The Snow Child, for the stage with the world-premiere musical Snow Child. Facing the loss of their unborn child, Jack and Mabel move to Alaska from Pennsylvania to restart their life together. During a long, hard winter, the fissure between them grows until it seems impassable. But everything changes once a wild, mysterious girl visits them from the dark woods that surround their small cabin. Matt Bogart, starring as Jack, wants audiences to deeply contemplate Snow Child’s themes before they leave the theater. “I hope that audience members will see some of their own life experiences reflected in this piece, and that we are successful in reiterating what is taught in these old folk tales,” Bogart says. “This folk tale has to do with the impermanence of nature – how nature can sweep in and change your life, how losing a child can change your life, and how gaining a child, whether it’s born into this world or if you create it in your mind, becomes [a form of] healing.” With Alaskan folk music, a puppeteer and a winter wonderland set, you’ll find yourself alongside Jack and Mabel as they struggle in the Alaskan wilderness. Tickets are $65-$80. Arena Stage: 1101 6th St. SW, DC; www.arenastage.org

THROUGH SUNDAY, MAY 27

1984
In this captivating adaption of George Orwell’s 1984, the crushing realization of a dystopian future is inescapable. In a world with an authoritarian government monitoring every action, expression and thought of the masses, individualism is crushed and challenging the established regime leads to torture, prison and death. Be careful what you think. Big Brother is watching. Thursdays through Saturdays at 8 p.m. and Sundays at 3 p.m. Tickets are $15-$45. Atlas Performing Arts Center: 1333 H St. NE, DC; www.atlasarts.org

WEDNESDAY, MAY 2 – SUNDAY, MAY 6

Hamlet
For the first time since 2007, the legendary Royal Shakespeare Company returns to the Kennedy Center to tell the age-old tale of searing tragedy, murder and revenge. After a student is called home from university to find his father brutally murdered, he sets out on a mission to expose the truth on a journey of madness, murder and lost love. Rising star Paapa Essiedu makes his debut in the U.S. with his lead role in Hamlet. Tickets are $39-$129. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; www.kennedy-center.org

SATURDAY, MAY 5 – SUNDAY MAY 27

The Undeniable Sound of Right Now
Father and small business owner Hank struggles to keep his legendary rock club open in 1992 Chicago. As Hank refuses to confront the reality of where rock music is heading, his daughter starts dating a rising DJ star, forcing her father to acknowledge the truth of a different era. Explore themes of family troubles, affection for a bygone decade and the pure awesomeness of 90s rock with the DC premiere of The Undeniable Sound of Right Now. Tickets are $35-$45. The Keegan Theatre: 1742 Church St. NW, DC; www.keegantheatre.com

SATURDAY, MAY 12 – SUNDAY, JUNE 10

Saint Joan
Focused on Joan of Arc’s simple, illiterate, village-girl nature, George Bernard Shaw takes a different approach in telling this classic tale of martyrdom. Instead of portraying her as a witch, a saint or a heretic, Shaw emphasizes her individualism during her journey to liberate France from English control after over 100 years of war. Only four actors play over 25 roles in this engaging, bare-bones production, which The New York Times described as “irresistible” and “a force of nature.” Tickets are $35-$79. Folger Theatre: 201 E Capitol St. SE, DC; www.folger.edu

THURSDAY, MAY 17 – SATURDAY, MAY 26

Spook
Just an hour before his scheduled execution, ex-police officer Darl “Spook” Spokane is to give a live televised interview from death row. Convicted for murdering five of his fellow officers during what they call the “Morning Roll Call massacre,” Spokane is to explain himself with the entire country watching. There’s a catch: this will be the first time he’s uttered even a single word in three years since the mass shooting. You’re going to want to hear what he has to say. 8 p.m. all dates. Tickets are $20. Logan Fringe Arts Space: 1358 Florida Ave. NE, DC; www.capitalfringe.org

TUESDAY, MAY 22 – FRIDAY, JULY 1

Camelot
Amongst magical forests and castles of grandeur, four-time, Tony Award-winning musical Camelot explores the struggle for civilization and goodness in a society that’s accustomed to violence and hate. It is one leader’s integrity, courage and empathy along with his Knights of the Round Table that will change the course of history. With a doomed romance and an incredible score on top, this musical has won the hearts of theatre enthusiasts for generations. Tickets are $59-$118. Shakespeare Theatre Company’s Sidney Harman Hall: 610 F St. NW, DC; www.shakespearetheatre.org

The Scottsboro Boys
Along the lines of Kander and Ebb’s iconic musicals Chicago and Cabaret, the Tony Award-winning duo delivers yet another breathtaking musical. The Scottsboro Boys is a critique on racism and injustice in the South, revealing the true story of nine African-American teenagers who were falsely accused of a crime, quickly tried and sentenced to death in complete disregard for due process. Nominated for 12 Tony Awards, this musical transforms a disgraceful moment in American history into a platform for change. Tickets start at $40. Signature Theatre: 4200 Campbell Ave. Arlington, VA; www.sigtheatre.org