DC Theater Friday: Tina Fey’s Broadway journey starts during a National

The Broadway-bound “Mean Girls” low-pitched is now in previews during a National Theatre. From left: Taylor Louderman, Ashley Park, Kate Rockwell, Barrett Wilbert Weed and Erika Henningsen. (Edgar Artiga)

The weekly underline of what’s function on Washington stages.

“Annie” in Olney — with strange “Rent” star Wilson Jermaine Heredia — and “Crazy for You” during Signature Theatre bloat a low-pitched offerings firm to browbeat by a new year. If your ardour leans toward politics, check out Jon Robin Baitz’s Trump-themed “Vicuña The American Epilogue” during Mosaic Theater Company.

In a ETC. category, note Tony leader Cynthia Erivo, in unison during a Kennedy Center Saturday.


“Get in, loser, we’re going to a theater”: What “Mean Girls” means (still)

Meet a new “Mean Girls”

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“Annie.” Wilson Jermaine Heredia, a strange Angel in Broadway’s “Rent,” plays a speculator Rooster in a expel that includes Kevin McAllister and Rachel Zampelli. Nov. 8-Dec. 31 during a Olney Theatre Center, 2001 Olney-Sandy Spring Rd., Olney, Tickets $42-$84. Call 301-924-3400 or revisit olneytheatre.org.

“Crazy For You.” The dance-happy Gershwin low-pitched comedy that debuted on Broadway in 1992. Denis Jones (“Honeymoon in Vegas”) choreographs. Nov. 7-Jan. 14 during Signature Theatre, 4200 Campbell Ave., Shirlington. Tickets $40-$108, theme to change. Call 703-820-9771 or revisit sigtheatre.org.

“The Dog in a Manger.” We Happy Few presents Lope de Vega’s 17th century play. Nov. 8-Dec. 2 during Capitol Hill Arts Workshop, 545 7th St. SE. Tickets $15. Call 757-999-0418 or revisit wehappyfewdc.com.

“Lady Day during Emerson’s Bar and Grill.” The 1986 Billie Holiday unison drama. Through Nov. 19 during Rep Stage, 10901 Little Patuxent Parkway, Columbia. Tickets $15-$40. Call 443-518-1500 or revisit repstage.org.

“Mean Girls.” Headed for Broadway subsequent spring; book by Tina Fey, formed on her 2004 movie. Music by TV composer-producer Jeff Richmond (“SNL,” “30 Rock” — and Fey’s husband), lyrics by Nell Benjamin (“Legally Blonde”), destined by Casey Nicholaw (“Book

Katie Kleiger and Rafi Silver in Lucy Prebble’s “The Effect,” during Studio Theatre. (Teresa Wood)

of Mormon”). Through Dec. 3 during a National Theatre, 1321 Pennsylvania Ave. NW. Tickets $48-$128. Call 202-628-6161 or revisit thenationaldc.org.

Peter Marks with Tina Fey and a “Mean Girls” team

“The Pajama Game.” The 1954 low-pitched comedy about a labor strike in a PJ plant, featuring such numbers as “Hey There” and “Steam Heat.” Directed by Shakepeare Theatre Company associate artistic executive Alan Paul (“Kiss Me, Kate,An ” “Man of La Mancha”); Donna McKechnie, a strange Cassie in “A Chorus Line,” is on residence in a ancillary role. Through Dec. 24 during Arena Stage, 1101 Sixth St. SW. Tickets $40-$120, theme to change. Call 202-488-3300 or revisit arenastage.org.

“I wish to dance”: Donna McKechnie joins Arena Stage’s “Pajama Game”

“The Ravens.” A play from “Soft Revolution” author Alana Valentine about a lady perplexing to leave a sex work trade. Through Nov. 26 during a Venus Theatre Play Shack, 21 C St., Laurel. Tickets $40. Call 202-236-4078 or revisit venustheatre.org.

“A Short Series of Disagreements Presented Here in Chronological Order.” A new work from Britain’s Daniel Kitson, a standup comedian described, admiringly, as an “awkward monologuist” by London’s Guardian newspaper. Nov. 4-25 during Studio Theatre, 1501 14th St. NW. Tickets $25. call 202-332-3300 or revisit studiotheatre.org.

“Top Girls.” Amber Jackson leads Caryl Churchill’s 1982 centuries-hopping play. Nov. 4-Dec. 2 during Keegan Theatre, 1742 Church St. NW. Tickets $45. Call 202-265-3767 or revisit keegantheatre.com.

“Vicuña The American Epilogue.” “Other Desert Cities” playwright Jon Robin Baitz’s Trump joke “Vicuña” — about a businessman-presidential claimant shopping what he hopes will be a enchanting fit — debuted in L.A. final October; Mosaic Theater stages a D.C. premiere, and a universe premiere of Baitz’s epilogue. Through Dec. 3 during a Atlas Performing Arts Center, 1333 H St. NE. Tickets $20-$65. Call 202-399-7993 or revisit mosaictheater.org.

Jon Hudson Odom in “Our Town,” destined by Aaron Posner. (Stan Barouh)

“The Adventures of Peter Pan.” “A funny, fast-paced, visually impediment new Synetic Theater production. Among a adaptation’s distinguished facilities is a poignant backstory for Tinker Bell. Portrayed with brownie animation by Ana Tsikurishvili, a angel is a riveting figure whose lime-green dress swirls with small lights and whose twitchy movements spirit during a untamed appetite she channels.” (Celia Wren) Through Nov. 19 during Synetic Theater, 1800 S. Bell St., Arlington. Tickets $20-$60. Call 866-811-4111 or revisit synetictheater.org.

Celia Wren reviews “Peter Pan”

“An Act of God.” “More like a ‘A Riff From God,’ a 75-minute comedy stand-up set delivered Vegas-style by a Lord. Its one-liners get from ‘The Daily Show With Jon Stewart’ Emmy leader David Javerbaum’s Twitter comment @TheTweetOfGod (3 million followers). Tom Story wryly delivers a holy shtick, though this sharp prolongation cries out for some-more disarming comedy-club rapport.” (Nelson Pressley) Through Nov. 26 during Signature Theatre, 4200 Campbell Ave., Arlington. Tickets $40-$104, theme to change. Call 703-820-9771 or revisit sigtheatre.org.

Nelson Pressley on “An Act of God”

“Antony Cleopatra.” “You could make ‘Antony and Cleopatra’ arena-scale and get divided with it; a passions and prima donna reversals are that grand. Director Robert Richmond goes a other proceed during a Folger, creation a singular acclimatisation of a 250-ish chair Elizabethan theatre to a friendly in-the-round space. Cody Nickell and Shirine Babb beautifully consolidate a absolute lovers in Mariah Hale’s fanciful and graceful costumes, and they authority a courtesy as if by birthright. But they don’t mostly find tones between fun and anger.” (Nelson Pressley) Through Nov. 19 during Folger Theatre, 201 East Capitol St. SE. Tickets $35-$79. Call 202-544-7077 or revisit folger.edu.

Nelson Pressley reviews “Antony and Cleopatra”

Profile of “Antony and Cleopatra” executive Robert Richmond

“Assassins.” Not a knock-‘em-dead entertainment of a Stephen Sondheim-John Weidman musical, nonetheless a element stays arresting, positively in a arise of another duration mystification about another mass open shooting. Guns are openly waved and sung about

Sara Barker (center) as a pretension impression in Lauren Gunderson’s “Emilie: La Marquise Du Chatelet Defends Her Life Tonight.” (DJ Corey)

as a expel plays presidential assassins from John Wilkes Booth to John Hinckley; a depiction of off-kilter American disgruntlement still gives we pause. The murky fair atmosphere and many of a performances seem right. The squeaky, fake tinge of a Americana song sounds wrong. Through Nov. 12 during Next Stop Theatre, 269 Sunset Park Drive, Herndon. Tickets $20-$60. Call 866-811-4111 or revisit nextstoptheatre.org.

“The Book of Mormon.” “South Park” does Broadway in this renouned low-pitched comedy, behind during a Kennedy Center for a third tour. “Money can buy happiness. You’ll not usually laugh; you’ll also marvel during a ability with that this uncover is constructed. Yes, a jibes deplane into a juvenile, and a jokes during a responsibility of religion, AIDS and Third World misery competence enforce we to consternation how that sweet-looking comparison integrate during a finish of your aisle is holding to all a clearly irreverent profanity. But a startling thing about ‘Book of Mormon’ is that notwithstanding all a nihilistic swagger, it’s a low-pitched with a soul.” (Peter Marks) Through Nov. 19 during a Kennedy Center’s Opera House. Tickets $59-$199. Call 202-467-4600 or revisit kennedy-center.org.

Peter Marks on “Book of Mormon” in 2013

“The Effect.” “Lucy Prebble’s intelligent and sensitive play concerns a scholarship of love, and how most a organic elements of captivate that march by a bodies competence be altered by substances combined to a systems. In a sexy, well-synchronized performances of Rafi Silver and Katie Kleiger, Studio Theatre’s stylish production, destined by David Muse, has no problem immersing us in a story’s executive mystery: either a heated passion that develops between Silver’s Tristan and Kleiger’s Connie has been triggered by a heart, or a bottle of pills.” (Peter Marks) Through Nov. 11 during Studio Theatre, 1501 14th St. NW. Tickets $20-$55. Call 202-332-3300 or revisit studiotheatre.org.

Peter Marks reviews “The Effect”

Lucy Prebble chats with Nelson Pressley

“Emilie: La Marquise Du Châtelet Defends Her Life Tonight.” “Lauren Gunderson’s bracing, brainy play formed on real-life 18th-century French systematic talent Émilie du Châtelet, whose achievements enclosed creation indispensable fixes to Newton’s physics. Gunderson’s play final an actor who can convincingly elicit Emilie’s nervous genius and wit, and in Avant Bard’s stream production, Sara Barker rises to a task.” (Celia Wren) Through Nov 19 during Gunston Arts Center Theater II, 2700 S. Lang St., Arlington. Tickets $35. Call 703-418-4808 or revisit wscavantbard.org.

Celia Wren reviews “Emilie”

“Hello, My Name Is . . . ” “A thespian designation by engineer Deb Sivigny that roams by an aged residence in a District’s Takoma Park area for audiences of about 15 during a time, immersing viewers in a universe of mostly Korean adoptees flourishing adult in America. Sivigny easily sets a list for nuanced arguments about adoption policies in Korea and a American group that insists it’s doing good.” (Nelson Pressley) Through Nov. 12 during Rhizome DC, 6950 Maple St, NW. Tickets $40. Visit thewelders.org.

Nelson Pressley reviews “Hello, My Name Is . . .”

Geoffrey Himes talks with Deb Sivigny

“Mystery School.” Nora Achrati plays a 5 women in Paul Selig’s one-woman drama, presented by a Edge of a Universe Players 2 in Woolly Mammoth’s operation hall. Through Nov. 20 during Woolly Mammoth Theatre Company, 641 D St. NW. Tickets $25. Visit universeplayers2.org.

“Our Town.” Thornton Wilder’s undying native drama. “Director Aaron Posner’s prolongation contains excellent moments of peaceful comedy and comfortable tellurian truth, and some core performances are winning. But as designed by Aaron Cromie and — some-more importantly — uttered and charcterised by a seven-actor cast, a puppets who etch a tale’s ancillary characters mostly come opposite as cutesy. Their darling folk-art demeanour and

Maboud Ebrahimzadeh (left) and Hal Linden in “The Price” during Arena Stage. (Colin Hovde)

idiosyncratic voices — lots of lovable-old-coot vocalization patterns — eventually stretch us

from a elementary though surpassing existence of Grover’s Corners.” (Celia Wren) Through Nov. 12 during a Olney Theatre Center, 2001 Olney-Sandy Spring Rd. Tickets $54-$74. Call 301-924-3400 or revisit olneytheatre.org.

Celia Wren on “Our Town”

“The Price.” Arthur Miller’s 1968 play of center aged hermit entrance to terms as they repay family assets, with Hal Linden as 89 year aged used seat play Gregory Solomon. “Miller knew salesmen, and Solomon’s a beauty: he charms, he jokes and he philosophizes as he nibbles a tough boiled egg from his briefcase. Solomon brings delight and light to a play that’s full of complicated showdowns, and mostly a purpose fits Linden like a soothing leather glove. Of march a man who played Barney Miller in one of TV’s smarter sitcoms knows how to dump dry punchlines into a prevalent inanity. Linden also knows how to kindly sound records of time and loss, that elsewhere in this opening crash like gongs.” (Nelson Pressley) Through Nov. 19 during Arena Stage, 1101 Sixth St. SW. Tickets $40-$111, theme to change. Call 202-488-3300 or revisit arenastage.org.

“The Price” reviewed by Nelson Pressley

“Safe as Houses.” “Gets stranded explaining itself again and again as a opposite kind of damaged family has a ‘Twilight Zone’ moment. It’s Valentine’s Day, and Isabel is celebrating with her second father when her initial father walks in out of a charge — not realizing 10 years have passed. Too small of playwright Natalie Ann Piegari’s anticipation (debuted by Pinky Swear Productions) passes simple credit tests, and too most overwritten discourse is stoical of astounded variations on ‘I don’t understand.’” (Nelson Pressley) Through Nov. 11 during Trinidad Theater in a Logan Fringe Arts Space, 1358 Florida Avenue NE. Tickets $35. Call 866-811-4111 or revisit pinkyswear-productions.com.

Nelson Pressley on “Safe As Houses”

“Shakespeare in Love.” “If we wish an costly duplicate of a splendidly escapist 1999 Best Picture winner, by all means check it out. The players munch into a element with liking and elegant verve. They are beautifully given in Kathleen Geldard’s costumes and underscored by Matthew M. Nielson’s cinema-ready soundtrack. You could film it.” (Nelson Pressley) Through Nov. 26 during Baltimore Center Stage, 700 N. Calvert St., Baltimore. Tickets, $20-$79. Call 410-332-0033 or revisit centerstage.org.

Nelson Pressley on “Shakespeare in Love”

Nicholas Carriere and Avery Glymph in “Shakespeare in Love” during Baltimore Center Stage. (Richard Anderson)

“The Very Last Days of a First Colored Circus.” A revised chronicle of a uncover presented by Restoration Stage progressing this year, a new play with song chronicling a hurdles faced by African American playground performers in 1920s La Plata, Md. Through Nov. 12 during a Anacostia Playhouse, 2020 Shannon Place SE. Tickets $45-$55. Visit restorationstage.biz.

“Are You Now or Have You Ever Been.” “Carlyle Brown’s torn-from-the-archives play about producer Langston Hughes confronting interrogators on Capitol Hill during McCarthyism’s heights. Composer and keyboardist William Knowles reserve an strange measure of jazz and blues while 5 actors dance and slip around Marcus Naylor, who is challenging and anguished as Hughes. The proceed gives a 90-minute uncover a jumpy gait that emphasizes Hughes’s anxiety.” (Nelson Pressley) Through Nov. 5 during MetroStage, 1201 N. Royal St., Alexandria. Tickets $55-$60. Call 800-494-8497 or revisit metrostage.org.

Nelson Pressley reviews “Are You Now . . . ”

“Electra.” The rising 4615 Theatre Company presents a chronicle of a Sophocles tragedy by Nick Payne. Through Nov. 4 during a Highwood Theatre, 914 Silver Spring Ave., Silver Spring. Tickets $10-$16. Visit 4615theatre.com.

The Capitol Steps. The longtime domestic satirists, ripping laughs from a headlines. Fridays and Saturdays in a Ronald Reagan Building and International Trade Center Amphitheater, 1300 Pennsylvania Ave. NW. Tickets $40.50. Call 202-397-7328 or revisit www.capsteps.com.

Cynthia Erivo. The 2015 Tony winning star of “The Color Purple” in concert. Nov. 4 during a Kennedy Center’s Terrace Theater. Tickets $49-$69. Call 202-467-4600 or revisit kennedy-center.org.

“Shear Madness.” The indestructible interactive comedy whodunit, during 12,000-plus performances. Ongoing in a Kennedy Center’s Theater Lab. Tickets $50-$54. Call 202-467-4600 or revisit kennedy-center.org.

Donna McKechnie during Arena Stage. (Marvin Joseph)


Donna McKechnie on Michael Bennett Bob Fosse

The story behind “Nina Simone: Four Women”

Jackie Gleason’s “The Honeymooners” is a musical

“The ‘B’ Side” from Manhattan’s Wooster Group

Springsteen on Broadway

Andrew Lloyd Webber’s “Phantom” supplement “Love Never Dies” sneaks by Baltimore

A finish beam to DC’s 2017-18 museum season, with records from Post critics

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