Sept. 12-Nov. 3
Written by Elyzabeth Gregory Wilder, directed by Thomas W. Jones II
Music direction by William Knowles and William Hubbard
Griffin was drawn to the African American themes and backdrop of gospel music in this play set during the civil rights movement in Alabama. Based on a true story, “Gee’s Bend” follows the women of the titular town and their use of quilting as a way to cope with segregation and family strife. The real quilts were on display at the Corcoran in 2004, Griffin said, and the play has not been performed in Washington before.
A Broadway Christmas Carol
Nov. 21-Dec. 22
Created by Kathy Feininger, directed by Michael Sharp
This will be the fourth season of MetroStage’s holiday show, a retelling of “A Christmas Carol” set to 33 Broadway show tunes. “People still, as of yesterday, are talking about it and how they’re coming back to see it again. The last week of the run last season, I had people taking me aside saying, ‘What do we have to do to guarantee that you will bring this back next year?’ ”
Ella: First Lady of Song
Jan. 16-March 9, 2014
Written by Lee Summers, directed and choreographed by Maurice Hines
Hines, who directed and choreographed last season’s “Josephine Tonight,” brought this musical about Ella Fitzgerald, her cousin/traveling buddy Georgiana, and Fitzgerald’s manager, the legendary jazz impresario Norman Grantz, to MetroStage’s attention. The show will feature a five-piece band.
In rep April 3-May 18, 2014:
The Thousandth Night
Written by Carol Wolf, directed by John Vreeke
Underneath the Lintel
Written by Glen Berger, directed by John Vreeke
MetroStage has produced “The Thousandth Night” before, in 2002, “and it’s a stunning, very amazing one-man show” that takes place during the Holocaust. The plan was to just produce “The Thousandth Night,” but Paul Morella, who is currently performing in MetroStage’s “Ghost-Writer” (which has just been extended through June 16), had done “Underneath the Lintel,” also a one-man show, and suggested Griffin consider it for a future season.
“It has such an interesting, intriguing compatibility and synthesis with ‘Thousandth Night’ and I just thought, I would love to do this together so we can really have a dialogue about these two plays,” Griffin said. “They both speak, to be perfectly global about it, to the meaning of life, the strength of the individual, the search for meaning. And they both have a Jewish underpinning.”