Category Archive for: Reviews

Metro Weekly: RIPCORD

Deb Gottesman and Claire Schoonover let ‘er rip as dueling retirees in Keegan’s rollicking “Ripcord” David Lindsay-Abaire’s raucous farce Ripcord might be about the beginning of a beautiful friendship, or the origin of one nasty feud, depending on whether anyone’s left standing when this duel of pranks finally comes to an end. Director Megan Thrift

DC Metro Theater Arts: RIPCORD

The cute little old ladies are up to something at the sunny nursing home. They share the same room and enough wit to fight over the turf like two college roommates. If only we all could grow old with such spunk and physicality! The woman-child trope of David Lindsay-Abaire’s Ripcord at Keegan Theatre is the familiar

The Washington Post: RIPCORD

David Lindsay-Abaire is up to his old tricks again in “Ripcord,” a zany comedy about feuding seniors. Bet you can’t keep ahead of the twists in the sitcom play “Ripcord,” David Lindsay-Abaire’s “Odd Couple” romp for two women thrust together in a senior living complex. They are roommates who don’t get along: One’s sweet, the

BroadwayWorld: GOD OF CARNAGE

Keegan Theatre’s Feisty GOD OF CARNAGE A child injures another in a playground confrontation. The parents of each meet to discuss. It’s a parenting moment so universal that the familiar premise in Yasmina Reza’s God of Carnage was originally written in French and first presented in London. It was a Tony-winner on Broadway a decade ago

DC Metro Theater Arts: GOD OF CARNAGE

Yasmina Reza’s Tony Award-winning God of Carnage is a cautionary tale for modern times. Written in French and translated into English by Christopher Hampton, Reza’s razor-sharp black comedy has resonated with audiences from Europe and the Middle East to Australia. Why the widespread appeal? Perhaps it’s a shared fear that beneath the civilized manners of the upper

DC Theatre Scene: GOD OF CARNAGE

“In the end, we’re all just taller children,” croons Brooklyn-based singer-songwriter Elizabeth Ziman on her band, Elizabeth & The Catapult’s, aptly title 2009 song, “Taller Children.” This is the lyric that immediately sprang to mind as I watched Yasmina Reza’s God of Carnage unspool in front of me at the Keegan Theatre — a finely designed and executed production

DCMTA Magic Time: GOD OF CARNAGE

The set foreshadows the coming fracas.  There’s a fault line down the middle where this living room seems sliced in two. And something’s out of whack. The halves do not align. Like two stressed tectonic plates beneath the surface predicting a quake any second, Matthew J. Keenan’s astute set design sets us on edge. That’s

BroadwayWorld: HANDS ON A HARDBODY

What is the American dream? Some would say two kids, a house with a white picket fence, and a dog. In the musical Hands on a Hardbody, with book by Doug Wright and music by Trey Anastasio and Amanda Green paired with lyrics by Green, the American Dream is a “hardbody” or a little red pickup truck at the center of an

DC Metro Theater Arts: HANDS ON A HARDBODY

Keegan Theater, renowned for its slam-dunk productions of well-known musicals such as Chicago, Hair, and American Idiot, now delivers the goods with one more out of the way… and it’s a winner. Hands on a Hardbody is a hoedown of heart and humor and a shindig of lifted spirits. First of all, the score (music

DC Theatre Scene: HANDS ON A HARDBODY

Sure, it might not immediately resonate as stereotypical Broadway fodder, but Hands on a Hardbody actually makes a lot of sense as an idea for a musical. The show was based on a documentary of the same name, had a brief Broadway run in 2013 and is known for helping launch the career of “The



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