What do you get when you combine a sextet of bouffons (clowns à la Jacques Lecoq’s school of physical theater) and the most outrageous things in American society from the past few years? A funny and often insightful Fringe show!

This Is What You Look Like begins with the Q-Anon Shaman leading a land acknowledgment and the national anthem — in this case, “Colors of the Wind” from Disney’s Pocahontas then “Proud to be an American.” From there, the show continues its 55-minute nonstop satirical series of vignettes looking at the world through a distorted fun house mirror.

Topics of mockery and warped reflection include incels, LGBTQ+ panic and all-gender restrooms, J.K. Rowling, Taylor Swift, toxic masculinity, gun violence, abortion, and world politics. Despite heavy-sounding topics, the audience was laughing, occasionally grossed out or groaning, and sometimes cringing.

The skilled ensemble from mimebaby theatre deftly embodied the grotesque, bulbous jesters, delightfully shocking the audience at every turn.

The myriad vignettes themselves were hit or miss. Some critiques of modern society felt a bit too “on the nose,” with little new to say on the topic. Some moments were pure gross-out humor or outlandishly sexual. However, a few were surprisingly thought-provoking and intriguing, making me question why I felt offended or shocked.

As the title suggests, we too are participants in the society being ridiculed, watching snippets of our world and being asked to view ourselves through the distorted mirror. No one is safe from being mocked, questioned, or prodded in this play — audience included — which makes for a largely worthwhile, amusing, and mentally-stimulating evening.

Running Time: 55 minutes.

This Is What You Look Like plays July 22 at 9:00 pm and July 23 at 3:30 pm at Sweet – 3rd Floor – 1050 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Comedy
Performed and created by: Brian Bowyer, Heather Hosford, MK Korbisch, Connor McAndrews, Chelsea Thaler, Rose Weiss
Age appropriateness: Appropriate for Adults Only
Profanity: yes

SEE ALSO: 2023 Capital Fringe Preview: ‘This Is What You Look Like’
(preview by Chelsea Thaler, July 12, 2023)

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘This Is What You Look Like’ (4 stars) appeared first on DC Theater Arts.

Can the accents of characters drive a story? I could have set the world on fire, making its debut at Capital Fringe, asks us to consider.

This play is for you if you love hearing a variety of accents and they make you laugh. Unfortunately, the play fails to inspire much beyond admiration for the accents of the performers.

The play centers around Ernest Williams, an American with a posh accent sharing his old stories of working in film from his hospital bed with his Southern belle ex-wife and their daughter. As Ernest recounts his life stories, he embellishes and tries to gloss over the anti-Black roles he felt obligated to accept if he wanted to have a career in showbiz. The play also taps into how anti-Black racism can wreck the body and how the healthcare system experiments on Black bodies.

However funny the play attempts to be, the jokes don’t find a solid place to land. The accents do a lot of heavy lifting for the play by distracting from the plot’s flimsiness. Lying underneath are strong themes that don’t quite get the support they need. The dialogue doesn’t easily flow between the characters, and the lack of chemistry is evident among them making me wonder if the director and playwright understood each other’s goals. With competing levels of connection to their characters, the play is stuck in rehearsal.

The play could have set the festival on fire but instead does little more than make a case for the playfulness of accents.

Running Time: 60 minutes.

I could have set the world on fire plays July 15 at 5:00 pm, July 16 at 6:45 pm, July 19 at 8:00 pm, July 22 at 3:00 pm, and July 23 at 9:00 pm at DCJCC – Cafritz Hall. Tickets are $15 and can be purchased online.

Genre: Comedy
Director: Mediombo Singo Fofana
Playwright: Shaun Michael Johnson
Composer: Shaun Michael Johnson
Age appropriateness: Recommended for Children 13 + older
Profanity: yes

The complete 2023 Capital Fringe Festival guidebook is online here.

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It’s been said that laughter is the best medicine. The Road to the End uses comedy to tell a story of grief and how we can use it to process our feelings. In 75 minutes the play examines themes of loss, grief, memories, friendship, bravery, and forgiveness.

What appears to be a fairly regular road trip to the Grand Canyon for a father and son, Steve and Henry, actually turns into something surprising. They pick up a hitchhiker by the name of Dabria. She helps the characters to peel back the layers of their rocky relationship. In many ways, Dabria and Henry are alike. They’re both travelers with heavy baggage who are looking to escape from the pain they’re feeling. Over the course of their journey, Henry and Dabria help each other make peace with their past and the people they love.

The play uses two sets of characters for the past and present, which could have made the story difficult to follow, but the actors were very committed to their characters. The actors maintain the relational dynamics between the characters in the present and references to the past, and as a result, we always stay aware of the story.

I left this play reflecting on road trips, a seemingly mundane thing but a shared experience many of us can relate to.

If you’re interested in a quirky heartwarming story that confronts the sometimes complicated relationships between a child and their parent — especially an adult child and their parent — I recommend this play.

Running Time: 75 minutes.

The Road to the End plays July 19 at 7:45 pm and July 23 at 5:00 pm at DCJCC–Theater J. Tickets are $15 and can be purchased online.

Genre: Drama
Directors: Megan Lederman, Darren Badly
Playwright: Bella Panciocco
Performers: Aadith Iyer, Jessica Nguyen, Keaton Lazar, Michael Jarvis, Bertem Demirtas, Kendall Huheey, Sage Munson, Hansin Arvind, Toni Avonne
Age appropriateness: Recommended for Children 13 + older, Appropriate for Adults Only
Profanity: yes

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘The Road to the End’ by Bella Panciocco (4 stars) appeared first on DC Theater Arts.

What happens when you take away everyone BUT Romeo and Juliet in the classic tale of star-crossed lovers? In a barebones staging at this year’s Capital Fringe, Madeleine Smith’s Only Love: A Fresh Cut of Shakespeare’s Romeo and Juliet takes an inspired, humanist approach to Shakespeare’s timeless tale of young love.

Smith’s adaptation is a 65-minute cut of the original Shakespearean text, with solely two actors, who play Romeo and Juliet. In a pre-recorded prologue and epilogue, eerie voiceovers of the actors’ voices play in place of an ensemble. In scenes where they typically have other scene partners like Juliet’s brother Tybalt, Romeo’s friend Mercutio, or Juliet’s trusted Nurse, the audience is the scene partner. And audience members in the front row hand over pre-set props.

When you don’t see the world they’re fighting against, and yet you’re also part of it, you feel connected to the world of Romeo and Juliet. It evokes the sad feeling that they are alone and have only each other. The effect of their warring families’ conflict is squarely on them, even in the opening scenes where love appears to conquer all.

This is a concept that is reliant on actors using their full selves to communicate the text. Both performers step up to the challenge, with lovely natural chemistry. There’s a lightly modern feel in their attitude, and both are skillfully alive with the verse, bravely allowing themselves to be vulnerable.

As Romeo, Stephen Kime exudes power: physically, vocally, and emotionally. He’s most enjoyable in the moments when he feels the love of the character. Anna Takayo’s Juliet is playful, innocent yet knowing, with bright eyes and a sweet voice that grows ever stronger. She has a long stretch carrying the show in the Friar Lawrence section, which makes you realize how much Juliet has to do on her own without Romeo.

For anyone seeking levity, brevity, and genuine love, it’s easy to fall deeply in love with Only Love.

Running Time: 65 minutes.

Only Love: A Fresh Cut of Shakespeare’s Romeo & Juliet plays July 14 at 9:45 pm, July 15 at 3:00 pm, July 16 at 1:15 pm, July 20 at 8:45 pm, and July 23 at 1:30 pm at Sweet – 3rd Floor – 1050 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Drama
Age appropriateness: Recommended for Children 13 + older

Director: Madeleine Smith
Playwrights: Madeleine Smith, William Shakespeare
Fight and Intimacy Director: Bess Kaye
Lighting Design: Ian Claar
Sound Design: MaeAnn Ross
Choreography: Jacklyn Rogers
Stage Manager: Jillian Riti
Romeo: Stephen Kime
Juliet: Anna Takayo

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Only Love: A Fresh Cut of Shakespeare’s Romeo and Juliet’ by Madeleine Smith (4 stars) appeared first on DC Theater Arts.

I In Mutu Sakata: My DC Story, we get an interesting mix of what it means to be human, and what it means for humanity to be amplified to the max. The story is told through the character Mutu Sakata, a young woman from Mississippi whose name means “genuinely human” in Lozi, a language spoken by the Lozi people of the area that is currently Southwestern Zambia.

Renee Namkau Ombaba, who wrote the play and plays several characters in it, stresses that the name Mutu Sakata refers to being “genuinely human” both to the self and to society.

The play breathes empowerment, resilience, and life into stories of struggle as it tells the tale of a Black woman from Mississippi who moved to DC where she must learn to navigate the city amid culture shock and mental health struggles. With a casual, welcoming community call-and-response environment, structured and performed in the vein of a Black lady sketch show, the show feels like a homecoming.

Directed with compassion by Krystal Ramseur Ali, the play has a clear, dynamically moving flow that had audiences clapping at the end of each sketch. Amplified larger-than-life sketch moments are narrated by Eva R. Lewis and Tandra T. Turner as two versions of the Mutu Sakata character who provide context grounded in realism.

Ombaba is a star, showing off a wide range of folks that Mutu Sakata encounters in DC. From a bold and powerful lawyer to a pretentious opera voice teacher, Ombaba embodies all the people who made and broke Mutu. In doing so, she reclaims Mutu’s power. The more she leans into the camp, and the more the Mutu Sakata characters delve into deeper mental health stories, the more clearly the chasm between the two styles speaks. It gets very interesting.

In the penultimate sketch where we see one of Mutu’s best friends in her lowest moment of depression, Ombaba’s character mourns: “I wish my heart had been rescued earlier.” Let this show rescue your heart and lift you up.

Running Time: 50 minutes.

Mutu Sakata: My DC Story plays July 20 at 6:30 pm, July 22 at 2:00 pm, and July 23 at 4:00 pm presented by Cookout Collective at Rind – 1025 Thomas Jefferson. Tickets are $15 and can be purchased online. 

Genre: Comedy
Director: Krystal Ramseur Ali
Playwright: Renee Namakau Ombaba
Performers: Renee Namakau Ombaba, Krystal Ramseur Ali, Eva R. Lewis, Tandra T. Turner
Age appropriateness: Appropriate for Adults Only
Profanity: yes
Nudity: yes

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Mutu Sakata: My DC Story’ by Renee Namakau Ombaba (4 stars) appeared first on DC Theater Arts.

In Grief Baby’s First Road Trip, Adedana Ashebir creates not only an emotional tribute to her beloved father but also a catharsis and perhaps a bridge to others experiencing grief. This show is described as a young woman’s quest to find the spirit of her father after his sudden death. It’s not described as a coming-of-age story, a beautiful monologue, or a detailed account of processing grief, but it’s all of those as well. Unspoken are the embedded notions that sometimes the best thing is to sit still and to keep the promises you’ve made to yourself. It is excellent storytelling and reminds me of some of my favorite listens: Radiolab, Stoop Stories, The Moth, and Snap Judgment. Billed as drama, there’s an abundance of humor in Adedana’s tale.

Each performance is ASL interpreted and the ASL interpreter at the performance I attended, Frances Ramsel, was exquisite. A significant technical contingent was also assembled, presumably for lighting and sound cues. Overly dramatic lighting changes proved to be distracting. But it is an otherwise brilliant performance with no tech issues or mic glitches, and Adedana herself is amazing. Holding her voice steady while tears trickle down her cheeks in front of a live audience demonstrates a power and fearlessness most of us would be lucky to emulate.

Adedana Ashebir’s Grief Baby’s First Road Trip is an amazing hour for anyone who has experienced grief or expects to someday.

Running Time: 60 minutes.

Grief Baby’s First Road Trip plays July 21 at 6:00 pm, July 22 at 3:00 pm, and July 23 at 4:45 pm at Sour – 2nd Floor – 1050 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Drama
Director: Kia Davis
Playwright: Adedana Ashebir
Performer: Adedana Ashebir
Age Appropriateness: Appropriate for adults only
Profanity: Yes

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Grief Baby’s First Road Trip’ by Adedana Ashebir (4 1⁄2 stars) appeared first on DC Theater Arts.

Wayang Kulit is a traditional performance art in Indonesia of intricately carved buffalo hide puppets. It usually features a large bronze orchestra and often relates tales based on Ramayana and Mahabharata, ancient Sanskrit epics of Hindu tradition. Attack on Tunggorono takes this traditional art form and juxtaposes it with current events, resulting in a production that introduces an American audience to a beautiful art.

Playwright and puppeteer Mark Hoffman performs behind a screen backlit by a coconut oil lamp. Though the seating is arranged on risers, only people in the front rows have a clear view. The narrative is told in several “voices,” to differentiate the characters, punctuated with jokes and songs. Scene changes are marked by movement of a “tree of life” puppet that is stationary during the action, paired with a song not in English, but some audience members tittered, so I’m guessing the song is funny.

Stories that have many characters performed by a single operator can be unevenly paced, and this one is. Despite that, because of the beauty of the puppets and the novelty of the form, we’re looking at something really unusual here. That, at least in part, is what Fringe is all about.

Running Time: 75 minutes.

Attack on Tunggorono plays July 20 at 8:30 pm, July 22 at 11:45 am, and July 23 at 1:45 pm presented by Marc Hoffman Shadow Puppetry at Rind – 1025 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Drama
Performer: Marc Hoffman
Age appropriateness: Appropriate for All Ages

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Attack on Tunggorono’ by Marc Hoffman (3 stars) appeared first on DC Theater Arts.

Big Dad Energy will resonate strongest with Gen X and older audiences; however, as a queer ’90s baby myself, it never hurts when someone with Big Dad Energy tells me he is proud of me. Wholesome, warm, and vulnerable, Campbell’s anecdotes have a bit of youth pastor energy; these anecdotes are paired with some truly touching and insightful commentary that everyone wishes they could hear from their dad.

Whether you are a parent, a househusband with big dad energy, or a queer kid who likes to hear strangers tell them they are proud of them, Big Dad Energy by Jamie Campbell is charming, intimate, and delightful. He may not have kids, but he was certainly the audience’s proud dad.

Running Time: 55 minutes.

Big Dad Energy plays July 22 at 5:00 pm and July 23 at 11:30 am at Sweet – 3rd Floor – 1050 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Comedy
Performer: Jamie Campbell
Age Appropriateness: Recommended for children 13+ older

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Big Dad Energy’ by Jamie Campbell (4 stars) appeared first on DC Theater Arts.

Simmons begins with no fanfare — walking up to the mic, thanking the audience for joining her, and beginning what seems like a completely unscripted comedy show that nearly leans into TED Talk territory. She opens with a quiet, almost anxious rant against the bland but insidious Sip & Paint industry, and poses a question that my partner and I often argue about: what is art? Should it ask a question? Should it answer a question?

While I thoroughly enjoyed her off-the-cuff presentation, which felt both unscripted and nearly unrehearsed, I think Simmons and this piece would be better served by a tighter delivery or an audience that felt freer to laugh. The piece felt experimental and incredibly casual, without being a stand-up act — an energy that not every audience can appreciate. I often wanted to laugh out loud, but there was hesitancy; there were no clear punchlines, and an audience that doesn’t share her energy won’t know when to laugh. I would have loved to have seen this show with a younger, late-night crowd. While this piece may not be everyone’s glass of wine, you’ll come away from the understated ending having experienced something oddly profound — a small moment of meaning in the nothingness.

Running Time: 50 minutes.

Sip & Paint: A Manifesto in the Year 2023 plays July 22 at 3:45 pm and July 23 at 11:45 am at Rind – 1025 Thomas Jefferson. Tickets are $15 and can be purchased online. 

Genre: Comedy
Performer: Ginny Simmons
Age Appropriateness: Recommended for children 13+ older
Profanity: Yes

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Sip & Paint: A Manifesto in the Year 2023’ by Ginny Simmons (3 1⁄2 stars) appeared first on DC Theater Arts.

Sex. Religion. Audience participation.

As an anxious ex-Baptist, the premise of Lauren Hance and Amelia Peterson’s The Holy O filled me with apprehension. Sex scenes on TV make me squirm; plays about religion can sometimes lack nuance and end up feeling preachy despite their heavy-handed “irreverence.” Audience participation often comes off as insincere: an audience member tries and fails to be funny; actors try to embarrass, shock, or provoke. It is a difficult trifecta to balance, but one that The Holy O manages with grace and sincerity.

A uniquely intimate and spiritual experience, The Holy O invites audience members to become active participants in the story as soon as they walk into the space. A Greek chorus of unconventional saints, the audience participation is largely voluntary but compelling, even for a wallflower like me. The audience interactions with actress Lauren Hance are genuinely warm and gentle — she has extraordinary emotional intelligence and intuition, matching each saint’s kindness, humor, and energy. Hance fosters an intimate environment with the deft hand you might expect from a counselor; she never feels like an actor, but a person you have the privilege to get to know.

The Holy O is a deeply moving experience without an ounce of pretense. The piece masterfully explores sexuality without shame, taboo, or crudeness, beautifully blending moments of humor and solemnity. It is rare that such a piece makes the audience feel so nurtured; while heavy at times, we’re left basking in the glow of what we’ve experienced, and wishing the run time was longer.

Running Time: 60 minutes.

The Holy O plays July 22 at 9:40 pm and July 23 at 7:55 pm at Rind – 1025 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Comedy
Director: Amelia Peterson
Playwright: Lauren Hance
Performer: Lauren Hance
Age Appropriateness: Appropriate for adults only
Profanity: Yes

SEE ALSO: 2023 Capital Fringe Preview: ‘The Holy O’ (preview by Lauren Hance, June 23, 2023)

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘The Holy O’ by Lauren Hance (5 stars) appeared first on DC Theater Arts.

Sitting beside me at Onion Skin, a dramatic comedy by Dara Padwo-Audick about the scourge of skin cancer, was a woman whose father had died of melanoma that started in his toe. “He loved the beach,” she sighed. “Who thinks to put sunscreen on their toes?! The doctors gave him only five months, but he lived another five years. Still, it wasn’t enough.”

Never is. And that encounter with a stranger put me in the proper dour mood to digest Onion Skin — theater advocacy at full tilt.

If the goal of co-directors Padwo-Audick and Matt Conner is to scare the bejesus out of patrons and get them to make an appointment for a checkup or baseline reading, they’ve exceeded their calling. There’s even the “Fringe” benefit of free SPF 50 sunscreen at the door.

But despite powerhouse talent, creative direction, and gobs of useful information on display (literally, projections detail treatment and risks), something about this earnest show doesn’t quite work.

We meet four patients in their dermatologist’s waiting room — each representing different phases of life and, later, stages of disease. Melanie (Francesca Katherine Ferrara) is overloaded as a working mom, with priorities out of whack because she views medical care as an inconvenience. Young hipster Cherry (America Michelle) has been baking in tanning beds to get into prime wedding shape. Diana (Zoé Badovinac), an empty nester and a rabid gardener, shuns sunhats. Tim (Sowande Tichawonna) is an overachieving CFO and athlete “in the best shape of his life” who believes Black men can’t get skin cancer.

We soak in their grim camaraderie and scattered laugh lines to ease the telescopic tension. One especially bright spot: Carla Baechtle multitasks spectacularly as three doctors, toggling three accents and sporting three wigs and changes of shoes (a sixth, silent performer serves only as her onstage dresser). At first one wonders: Is having one performer play all three doctors symbolism saying the medical establishment is anonymous and faceless? No, because Baechtle — and Padwo-Audick, herself a cancer survivor — humanize them. A cinematic score by Matt Conner combined with scenic projections adds the polish of a streamed drama series. Aside from the unfortunate miscued chime to simulate the clinking of plastic wine glasses, the production value is above-par. (Michelle impressively provides her own sound effects — and does her own yoga stunts.)

So why does it not yank the heartstrings? We witness plenty of emotion as each character deals with a diagnosis. Cherry catastrophizes. Melanie bargains, comically. Diana’s deep faith is shaken. Tim’s denial and blistering anger … well, that does work. Tichawonna’s transformation is the most searing, as he takes a stand, center stage, against society’s mutual, microscopic enemy.

Still, the show’s resolution felt endless. And maybe that’s the point. Through this jeremiad of pain and suffering with no cure in sight, we are inspired, simply, to endure. Get seen. Donate. Comfort. Take care. Take time. Take action. Wear sunscreen. And share your cancer stories with strangers.

Running Time: 75 minutes.

Onion Skin plays July 19 at 6:00 pm and July 21 at 8:15 pm at DCJCC – Cafritz Hall. Tickets are $15 and can be purchased online.

Genre: Drama
Co-directors and co-producers: Dara Padwo-Audick, Matt Conner
Playwright: Dara Padwo-Audick
Performers: Zoé Badovinac, Carla Baechtle, Francesca Ferrara, America Michelle, Sowande Tichawonna
Composer: Matt Conner
Age appropriateness: Recommended for children 13 + older
Profanity: Yes

SEE ALSO: 2023 Capital Fringe Preview: ‘Onion Skin’ (preview by Dara Padwo-Audick, July 11, 2023)

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Onion Skin’ by Dara Padwo-Audick (3 stars) appeared first on DC Theater Arts.

Joan Kane went through a lot as a child in Brooklyn in the 1960s. The kind of events that take years of therapy to come to terms with. Lucky for us, Kane has done the hard work to process, heal, and ultimately share her experiences in the form of the touching and well-crafted 50-minute solo drama Almost 13, now playing at the Capital Fringe Festival.

Kane narrates Almost 13 from the perspective of her present-day self relating the events that changed her life in the hot summer of 1969 when she was, you guessed it, almost 13. Her story starts as one that will be familiar to many of her generation. She grew up in an Italian, Catholic neighborhood in an era when working-class people of specific backgrounds maintained a protectionist (racist?) attitude towards “others.” In Kane’s case, it was Italians guarding their block from the Latinos who were starting to populate the neighborhood. I remember my grandfather telling similar stories about his Czech block in Cleveland that didn’t mingle with the Slovaks a few blocks over.

Kane was mostly on her own as a child, being raised by a single mother who did her best but was often absent while trying to keep a roof over their heads. One day, the young Kane was inadvertently on the scene of a murder, the aftershocks of which altered the course of her life and left her with a profound sense of right, wrong, and the need to speak out against the hate crimes that still occur far too often in neighborhoods across America.

As the playwright and sole performer of this story, Kane does an admirable job both in crafting a story with a fine and compelling arc and also in delivering the story with pathos and sincerity. Over the course of the play, Kane assumes the personas of a myriad of characters including herself at age 12, her mother, her brother, the old “biddies” who sat on the Brooklyn stoops gossiping and judging, the head of the local street gang the South Brooklyn Boys, and others.

While some of her accents were a bit off (the one Latin character in the show sounded Russian), and her performance could have been infused with a bit more zing, for the most part, the show kept the audience spellbound. I don’t mind admitting that I shed a few tears at the end of her story.

Kane has partnered with Bruce A! Kraemer, who directs the show and handles the minimal lighting and sound requirements. Kane and Kraemer seem like a tight-knit team. Both handle the moments when the show goes to very dark places with stylistic grace. Almost 13 is playing at Capital Fringe as part of a larger tour of the U.S. and Canada. Catch it where you can.

Running Time: 50 minutes.

Almost 13 plays July 20 at 6:00 pm, July 22 at 8:00 pm, and July 23 at 2:15 pm presented by the Ego Actus Theatre Company at Squirt – 1st Floor – 1050 Thomas Jefferson. Tickets are $15 and can be purchased online.

Genre: Drama
Director: Bruce A! Kraemer
Playwright: Joan Kane
Performer: Joan Kane
Solo Production: yes
Age appropriateness: Recommended for Children 13 + older

The complete 2023 Capital Fringe Festival guidebook is online here.

The post 2023 Capital Fringe Review: ‘Almost 13’ by Joan Kane (4 1⁄2 stars) appeared first on DC Theater Arts.