No, this isn’t just A Christmas Carol with an accent; [Keegan Theatre’s An Irish Carol by Matthew J. Keenan] is a riff on the familiar Dickens structure, transported to the equally familiar stage world of an old Irish bar. The ghosts and visitations are traded for recriminations and memories; the supreme miser Scrooge for the
Trans rock star Lisa Stephen Friday debuts her personal story in TRANS AM At its heart, Trans Am is an autobiographical ode in the style of a rock opera, that draws inspiration from the folk-rock like stereotype of the singer-storyteller. Lisa Stephen Friday, in her one-woman autobiographical show receiving its world premiere at Keegan Theatre, brings
The tangy DC streets or a soulful bowl of NOLA. From Gumbo to Mumbo celebrates each from its first notes — for what writers and performers Drew Anderson and Dwayne Lawson-Brown do is something just shy of sing. This show is about their roots and life routes. Which, predictably, also include a lot of pain. From being
No holiday season would be complete without a viewing of Charles Dickens’ 176-year-old classic, A Christmas Carol. And while my heart will forever hold true to the George C. Scott movie-version of my youth, audiences around the world will suffer no shortage of options… At DC’s Keegan Theatre — the staging of An Irish Carol, written by company
An air guitar comedy whose wildly talented cast strikes a comedy chord “The whole impetus of air guitar is world peace,” earnestly intones a grown man who goes by the name Golden Thunder right before he goes out on stage in a dingy bar to play a pretend instrument. This one moment, perhaps more than
A love letter to rural life in West Virginia Brandon McCoy admits that he has written a love letter to his home state of West Virginia. McCoy has created a work that is both personal and heartachingly relatable to anyone who has pulled up roots and moved away from home. And yet, his home of
A delightfully funny, sweet summer musical “Oh. My. God. Oh my god, you guys!” Keegan Theatre’s production of Legally Blonde is so over-the-top, fabulously fun – the perfect sweet treat on a sweltering DC summer evening. Director Ricky Drummond dials up the campiness with fun sight gags and asides to the audience, all played for laughs. Ashleigh King’s
“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
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
[In Keegan’s An Irish Carol,] the Irish pub becomes purgatory and confessional, a place both of escape and a place one can call home. It’s a “carol” true enough, but one for 21st century adults. An Irish Carol was written by company member Matthew J. Keenan (who also designed a most authentic pub as set) and was
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