“Oh, god. Maybe it didn’t work,” the mother exclaims in alarm. It’s the moment in this hold-your-breath drama when she realizes the gender experiment done on her child, one of two identical twins born male, had been a horrendous failure. The play by Anna Ziegler, titled Boy, was inspired by a true story. The riveting
In uproarious ‘Airness’ at Keegan Theatre, the rock ‘n’ roll is unreal A show full of thrilling air guitar performances as feel-good as a concert by real rockstars. In the competitive national and international air guitar scene, contestants vie for championships and prizes by pretending to play (or “shred”) imaginary guitars to 60-second tracks from
The economic and social plight of America’s white rural working class has been the subject of recent blockbuster books from J.D. Vance’s Hillbilly Elegy to Educated, by Tara Westover. Now this disheartened population has become the focus of DC-area playwright Brandon McCoy, a native of West Virginia, who looks homeward in his new and well-intentioned
In this summer of our discontent – what with unchecked climate change, racist politics, and mass murders – a bit of cheer in the form of a frothy tale of a privileged white girl who, through dint of smarts, integrity, and cuteness, winds up not only happy but more privileged than ever, can be a
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
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
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
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
With its snappy-saucy take on Chicago, The Keegan Theatre shows it knows how to give an audience the ol’ razzle-dazzle. And Keegan has done the durable musical proud. In fact in Keegan’s mounting of the quasi-naughty musical on a bare wood set in a decommissioned church, a case can be made that Chicago’s vaudeville-based storytelling works even better
Now in its seventh year, the Keegan Theatre’s annual production of Matthew J. Keenan’s An Irish Carol has become a favorite Washington DC holiday tradition. It’s easy to see why. A quintessentially Irish take on Dickens’ classic, A Christmas Carol, Keenan’s play offers a holiday-perfect tale of redemption and the power of love. All joie de vivre seems to have been
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