Ryun Yu as Gordon Hirabayashi in “Hold These Truths” at Arena Stage. (Chris Bennion)

The weekly feature of what’s happening on Washington stages.

Last chance for “The Wolves,” and in the ETC. category note two concert events at the Kennedy Center — “In the Heights,” the second selection in the popular new Broadway Center Stage series, plus a one-night performance by German cabaret star Ute Lemper, a notable New York and London Velma Kelly in “Chicago.”

READ MORE: Harry Potter on Broadway

Want the Post’s theater newsletter delivered to your email inbox every Thursday? Sign up here.


“Alabama Story.” A children’s coloring book sparks outrage in this drama by Kenneth Jones, based on events surrounding the 1958 Garth Williams book “The Rabbits’ Wedding.” March 22-April 15 at Washington Stage Guild. $50-$60.

“The Beckett Trio.” Nanna Ingvarsson performs Samuel Beckett’s “Footfalls,” “Not I” and “Rockaby”; produced by Scena Theatre. March 22-April 8 at the Atlas Performing Arts Center. $15-$35.

“Nat Turner in Jerusalem.” The 1831 slave rebellion leader’s final night, as imagined by playwright Nathan Alan Davis. Through April 7 at Forum Theatre. $33-$38.

Playwright Nathan Alan Davis on Nat Turner now

“Translations.” Brian Friel’s 1980 drama about the British re-mapping Ireland in the 19th century. March 21-April 22 at Studio Theatre. $20-$69.

“The Winter’s Tale.” Aaron Posner directs Shakespeare’s late play. Through April 22 at Folger Theatre. $30-$79.

“The Wiz.” A revival of the 1970s gospel-soul-funk “Wizard of Oz” musical. Through May 12 at Ford’s Theatre. $20-$73.

The sound of the 70s: Making music in “Godspell” and “The Wiz”


“Adult Entertainment.” “Joe Banno’s ensemble plays Elaine May’s comedy with loopy innocence, even when characters named Frosty Moons and Heidi the Ho are flashing a little flesh at you. It deals with porn stars out to make an artier grade of movie. The screenwriter they hire is a literary Yale egghead who assigns them classic texts for prep; the ditsy book club discussions are a riot.” (Nelson Pressley) Read the review Through March 31 at Caos on F. $25.

“Chicago.” “Maria Rizzo’s Roxie Hart is the shiniest object in the show at the intimate Keegan Theatre, but directors Susan Marie Rhea and Mark A. Rhea get credit for creating a merry tone and for giving emerging talent a chance to stretch. It’s not a champagne ‘Chicago,’ but for bathtub gin, it ain’t bad.” (Nelson Pressley) Read the review Through April 7 at Keegan Theatre. $45-$55.

“Every Brilliant Thing.” “What our narrator relates is how he has coped with his mother’s depression and suicidal tendencies. His tactic: List every brilliant thing that makes life worth living. The wonder of the solo performance is how Alexander Strain plays this character while also building a keen rapport with the audience.” (Nelson Pressley) Read the review. Through March 25 at the Olney Theatre Center. $47-$74.

“George — Don’t Do That!” Catherine Flye’s tested tribute to the midcentury British entertainer Joyce Grenfell. The material is second nature to Flye, though it’s about as dramatic as a tea cozy. But it’s comfort food if you’re craving nostalgia.” (Nelson Pressley) Read the review Through March 25 at MetroStage. $45.

“Godspell.” The oft-resurrected 1970s Stephen Schwartz musical is set in a coffee shop with free WiFi. The update includes snippets of hip-hop and at least one Jared Kushner joke, but the antic street-theater style retelling of the gospel doesn’t age well, even with Alan Naylor as an affable Jesus. The songs endure, but they sometimes overmatch the band’s abilities, and the cast’s, too.” (Nelson Pressley) Through April 1 at Next Stop Theatre Company. $40-$55.

William T. Newman Jr. in “The Gospel at Colonus.” (DJ Corey)

“The Gospel at Colonus.” Avant Bard revives last year’s hit staging. “‘The Gospel at Colonus’ was a 1980s phenomenon engineered by Mabou Mines ringleader Lee Breuer, who brought his prestige hit from New York to Arena Stage in 1984 with a cast (hold your breath) of 57. Director Jennifer Nelson’s production is big for its stage, too, but it’s as dignified as church, even when it raises the roof.” (Nelson Pressley) Read the review Through March 26 at the Gunston Arts Center. $30-$35.

“Hold These Truths.” “Jeanne Sakata’s script about Gordon Hirabayashi, the real-life figure who refused to comply with the American policy of internment for anyone of Japanese descent in the wake of Pearl Harbor, is functional biography. But as performed by the entirely watchable Ryun Yu, the solo show is a timely reminder. The audience listens closely as a baffled and increasingly bitter Hirabayashi tries to reassure himself that the Constitution really means what it says.” (Nelson Pressley) Read the review Through April 8 at Arena Stage. $40-$101.

“The Texas Homecoming Revolution of 1995.” “Very ‘Mean Girls’-y. The set is a high school bathroom; the script is so full of direct address, and director Melissa Firlit’s cast is so generically perky, that the types don’t get distinct personalities. But the wit and the fast finish are off-kilter enough that the easy-to-handle play is likely to get more productions.” (Nelson Pressley) Read the review Through March 25 at Best Medicine Rep. $25.

“This Little Light.” “Jennifer Faletto’s play begins with yearning monologues from each character, gets sharply funny when they all show up in Macy’s, and waxes lyrical as the women gather under starlight at the end. Deborah Randall’s production in Venus Theatre’s soon-to-be-abandoned Play Shack is acted with the right philosophical breeze.” (Nelson Pressley) Read the review Through March 25 at Venus Theatre. $40.


“Becoming Dr. Ruth.” “The chronological script with Dr. Ruth directly addressing the audience is entirely too orthodox, but the production at Theater J has Naomi Jacobson in the title role, and a more adorable pistol you could not find. The intuitively funny Jacobson acts with the patented grandmotherly charm, fixing you with a friendly look and never missing one of the cheerful figure’s punchlines, unpacking Westheimer’s life exactly as Dr. Ruth is trying to box it up and move on.” (Nelson Pressley) Read the review Through March 18 at Theater J. $37-$69.

“The Raid.” “More diligent than inspired. Idris Goodwin’s play imagines an argument between Frederick Douglass and John Brown as Brown prepares to lead the 1859 raid on Harpers Ferry. Both men yearn for the abolition of slavery but disagree on how to achieve that goal. The production gains intensity from its spare look and in-the-round staging.” (Celia Wren) Read the review Through March 18 at the Anacostia Playhouse. $35.

Gabby Beans in “The Wolves” at Studio Theatre. (Teresa Wood)

“The Wolves.” “Sarah DeLappe’s 95 minute play manages to illuminate with unerring accuracy the psyches of the funny, inquisitive, garrulous, anxious, profane, passionate players in a ferociously competitive high school girls’ weekend soccer league. The characters come across as so authentically specific it’s as if DeLappe pinpointed each of them on the closest-in setting on Google Maps.” (Peter Marks) Read the review Through March 18 at Studio Theatre. $52-$85.

TYA (Theater for Young Audiences)

“Alexander and the Terrible, Horrible, No Good, Very Bad Day.” An adaptation of the Judith Viorst book. Through March 31 at Adventure Theatre. $19.50.

“The Prince and the Pauper: A Bollywood Tale.” Anu Yadav adapts the Mark Twain story, with songs by Aks. Through March 18 at Imagination Stage. $10-$30.

Upcoming shows for young audiences


“The Big Apple Circus.” Yes, it went out of business last year, but it’s been revived with a new show featuring horses, acrobats and the Fabulous Wallendas. Through April 1 at National Harbor. $27.50-$109.

The Big Apple Circus’s performances for audiences with special needs

The Capitol Steps. The longtime political satirists, tearing laughs from the headlines. Fridays and Saturdays in the Ronald Reagan Building and International Trade Center Amphitheater. $40.50.

“In the Heights.” The second of the Kennedy Center’s new Broadway Center Stage concert series showcases Lin-Manuel Miranda’s 2008 Tony-winner. March 21-25 at the Eisenhower Theater. $99-$250.

Lynda Carter: Red, Rock n’ Blues. TV’s original Wonder Woman in concert. March 17 in the Kennedy Center Terrace Theater. $55-$110.

Incoming Woolly Mammoth Theatre Company artistic director Maria Manuela Goyanes at Manhattan’s Public Theater, where she has worked for over a decade. (Jennifer S. Altman)

“Motown: Hitsville.” A cabaret featuring yesteryear earworms sung by Nova Y. Payton, Mark G. Meadows and Felicia Curry; practically sold-out already. Through March 25 at Signature Theatre. $35.

The Second City: Look Both Ways Before Talking. Sketch comedy from the Chicago-based troupe. March 22-25 at The Barns at Wolf Trap. $27-$32.

Ute Lemper’s Paris Days, Berlin Nights. The Renée Fleming “Voices” series presents the German cabaret artist with the Vogler String Quartet. March 16 in the Kennedy Center Eisenhower Theater. $39-$79.


Maria Manuela Goyanes will succeed Howard Shalwitz at Woolly Mammoth

Why the Women’s Voices Theater Festival is a winner

How Taylor Mac conquered the Kennedy Center

Mosaic Theater takes the Voices from a Changing Middle East Festival on the road

Women’s Voices 2.0 arrives during #MeToo

A pair of “In the Heights” stagings dominate the 2018 Helen Hayes Award nominations

Not In Our House fights abuse in theaters and takes root in D.C.


Peter Marks with Broadway’s “Frozen” team

Bernadette Peters in B’way’s “Hello, Dolly!”

The $20 million “SpongeBob” musical

“The Band’s Visit” is Broadway’s best new musical

Want the Post’s theater newsletter delivered to your email inbox every Thursday? Sign up here.