DC Premiere of Musical Opens August 3 June 24, 2019: The Keegan Theatre closes out its 22nd season with the award-winning musical LEGALLY BLONDE, opening on August 3, 2019. Based on the hit movie, LEGALLY BLONDE is a fabulously fun and energetic musical, wrapped up with a snappy pink bow! It features music and lyrics
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
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
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
REGIONAL PREMIERE OPENING JUNE 15 May 20, 2019: The Keegan Theatre presents David Lindsay-Abaire’s heartwarming and hilarious comedy RIPCORD, making its regional premiere on June 15, 2019 at The Andrew Keegan Theatre in Washington, DC, with the press opening slated for June 18. About RIPCORD: A sunny room on an upper floor is prime real estate
On Monday, May 13, 2019, the DC theatre community gathered to celebrate outstanding artists and productions of 2018 at theatreWashington’s 35th Annual Helen Hayes Awards at The Anthem in SW DC. Keegan is honored to have earned 10 total nominations and 4 wins in 3 categories for work on 2018 productions of Chicago and As You Like
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
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
“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
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