The Company of the First North American Tour of “Come From Away.” With a book, music and lyrics by Tony and Grammy Award nominees Irene Sankoff and David Hein and direction by Christopher Ashley, “Come From Away runs November 28, 2018 through January 6, 2019 at Center Theatre Group/Ahmanson Theatre in Los Angeles, CA. For tickets and information, please visit or call (213) 972-4400. Media Contact: [email protected] / (213) 972-7376. Photo by Matthew Murphy.

Stage & Screen: December 2019

Through Sunday, December 22

The Woman in Black
Stephen Mallatratt adapted this British play based on the horror book of the same name, and Robin Herford is directing this eerie production at Shakespeare Theatre Company leading up to the holidays. The play is about Arthur Kipps (Adam Radcliffe) who asks an actor (Dominic Price) to help tell his dark story, and each performance will take the audience from a Victorian theater to the creepy Eel Marsh House. Just remember to be cautious around the Woman in Black. Various dates and times. Tickets $39-$79. Shakespeare Theatre Company’s Michael R. Klein Theatre: 450 7th St. NW, DC;

Through Thursday, January 5

Eureka Day
Anti-vaxxers, pay attention. This play is about a mumps outbreak in a Berkeley school. Watch as the community experiences a diverse environment clash when mandatory vaccinations take center stage. The play also displays projections that show how people behave online when the subject matter is controversial. Everyone will enjoy a night of satire with this award-winning play that looks at mandatory vaccinations in a humorous way. Various dates and times. Tickets $10-$32.50. Atlas Performing Arts Center: 1333 H St. NE, DC;

The Second City’s She The People: The Resistance Continues!
Your favorite all-female show is back. These comedians will offer a satirical view of what the world can be like for a woman, as the show pokes fun at stereotypes and how absurd things can be. This political sketch-comedy show is one that you do not want to miss. The Second City is a renowned comedy troupe with notable alumni including Tina Fey and Steve Carell, and many other talented comedians. Various dates and times. Tickets $20-$109. Woolly Mammoth Theatre Company: 641 D St. NW, DC;

Sunday, December 8

It’s a Wonderful Life
This classic film is a staple for the holiday season that audiences have enjoyed since 1946. The American Film Institute has recognized It’s a Wonderful Life as one of the 100 best American films ever made. The movie takes place on Christmas Eve when George Bailey is about to take his own life, but things change when his guardian angel Clarence gets involved. Watch Clarence show George what the town would be like if he had never been born. 3:30-5 p.m. Tickets $10. National Museum of American History: 14th Street and Constitutional Avenue in NW, DC;

Tuesday, December 10

Eternal Sunshine of the Spotless Mind
Joel and Clementine loved each other. But after a breakup, the couple opts to erase their memory of each other. Join the Embassy of France and watch this award-winning film starring Jim Carrey and Kate Winslet. The movie plays with flashbacks and a nonlinear narrative as the audience learns about the former couple’s love life. Enjoy this film from director Michel Gondry about people falling in love again despite doing what they could to forget the other. 7-10 p.m. Free to attend. The Embassy of France: 4101 Reservoir Rd. NW, DC;

Tuesday, December 10 – Sunday, December 15

Fiddler on the Roof
Matchmaker, matchmaker, this is a good musical for you. Tony-winning director Bartlett Sher gives his spin on the 10-time Tony Award-winning musical. In 1905 Russia, Tevye tries to maintain his Jewish religious and cultural traditions while the world changes around him. This musical is a story of family, love and attitudes toward Judaism. The popular Broadway songs, the orchestra and the cast will put on a delightful performance that will prove why Fiddler on the Roof once held the record for the longest-running Broadway musical. Various dates and times. Tickets $54-$114. National Theatre: 1321 Pennsylvania Ave. NW, DC;

Tuesday, December 10 – Sunday, January 5

Come From Away
A true story of kindness inspired this musical. It started on 9/11 when 38 planes were grounded in Grander, a small town in Canada. The 10,000 residents of Gander welcomed the 7,000 passengers in one of the darkest days in modern history. During the short period of time, the residents and passengers formed a bond made of compassion and kindness. Music enriches the story, and the show will remind you that there is light in the darkest times. Various dates and times. Tickets $49-$169. The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC;

The Cast of Fiddler on the Roof // Photo: Joan Marcus

Fiddler On The Roof Brings Sisterhood To National Theatre

Sisterhoods are quite common, whether they be biological, happenstance or through a rush at a sorority house. There’s something particularly precious about these seamlessly formed bonds that withstand the test of time. 

Consider your favorite predominantly women led stories; Golden Girls, Little Women, Insecure and Girlfriends. These strong female characters and intentionally feminine stories are sacred and significant in depicting a subsection of human existence.   

This is especially true for the three sisters of the Tony Award-nominated Broadway revival of Fiddler on the Roof, playing at DC’s National Theatre from December 10-15

“The magic of Fiddler is in the daughters,” Ruthy Froch says, explaining why she connects so well with her character and fellow cast members. “Doing the show so many times, our relationships only gets deeper in our onstage and off stage life.” 

Froch (Hodel) and Kelly Gabrielle Murphy (Tzeitel) have spent considerable time together, along with Noa Luz Barenblat (Chava) who joined the cast in August, and each express how being a part of this show is a dream come true. 

As the national tour nears two years, the trio’s friendship, cherished in a theatrical milieu, provides security in knowing they can rely on one another. 

“We’ve become our own community,” Froch says. “We’re our own shuttle outside the shuttle of the show. We live together, we travel together, we are experiencing life together.” 

Sisterhood is germane to Fiddler on the RoofSet in the Pale of Settlement of Imperial Russia during the early 20th century, the script follows the unsuccessful matchmaking of three elder daughters of Tevye, a poor Jewish milkman. Fixated on keeping with Jewish customs and traditions, Tevye is delighted by the prospects of arranged marriages devised by Yente, the village matchmaker. 

However, the hearts of his children have been won by those of who he considers unsuited suitors. Because of this universal theme, relating to this family is an easy feat.

“It’s incredible to see that no matter who you are or what your religious background is, or what your cultural or ethnic background is, everyone seems to find a way into this story and that makes it such a special production,” Barenblat says. 

She continues to point out how the dynamics played out in this allegory have emotional resonance overlapping generations and cultures. 

“I don’t even remember where I was when I first saw the movie, but I have such early memories of seeing the movie when I was young,” Barenblat says. “I know the songs, I know the story and I feel like it has lived in my bones for my entire life.”

Written in 1964, and now a 2019 production, the narrative has experienced a feel of timelessness.  “Since the show opened on Broadway, has been produced somewhere in the world every single day,” Kelly Gabrielle Murphy says quoting Fiddler: A Miracle of Miracles, a documentary on the Broadway musical. 

“That shows how wide of a range the show has and how many people it speaks to,” Murphy adds. 

With the premise of the narrative, a lot of the play is focused on the balance of doing what’s right and keeping with tradition. 

“I think traditions are important,” Murphy says. “Being on the road, I grip on to my traditions with my family even more because we’re not with our families.” 

Barenblat adds, “the biggest pride I feel in my identity are the traditions I have with my family, a lot of which are related to my religion, Judaism, and I do think they are really important. This show really highlights the tension between maintaining your traditions, versus moving forward and exploring new cultures and being accepting of other cultures.” 

Being on the road with cast members, away from family, Froch mentions one shared between herself and Murphy. Before each performance, once departing the makeup chair, one shouts to the other, “See you in the kitchen!” 

“I think the title, Fiddler on the Roof explains traditions perfectly. It’s about the fine line between doing what you’ve always known and what’s in your bones and the dangers and shakiness of exploring other things, other traditions, the unknown. I think traditions are meant to be followed and also meant to be broken.” 

The Tony Award nominated Broadway revival of Fiddler on the Roof is playing at National Theatre, December 10-15. Tickets are $54-$114 and may be purchased here.

National Theatre: 1321 Pennsylvania Ave. NW, DC; 202-628-6161;