All stories by Marshall Bradshaw on BroadwayStars

Monday, October 30, 2017

Safe as Houses from Pinky Swear Productions by Marshall Bradshaw

Safe as Houses seizes a few opportunities to explore how unintentionally hurting loved ones does not make that hurt any less your responsibility. It gets bogged down, however, in handwringin…

Linked From DC Theatre Scene at 08:36AM
Wednesday, October 18, 2017

Hal Linden in The Price (review) by Marshall Bradshaw

There’s something noble in sticking with your family no matter what, but there’s also something noble in finally cutting ties with a toxic parent. The Price grinds that contradiction aga…

Linked From DC Theatre Scene at 12:48PM

Wilderness explores Utah teen therapy program (review) by Marshall Bradshaw

This past weekend, En Garde Arts brought a new multimedia documentary theatre piece to the Kennedy Center. True to the best of its genre, Wilderness strikes right at the core with devastatin…

Linked From DC Theatre Scene at 12:48PM
Tuesday, October 3, 2017

Caryl Churchill’s Love and Information review by Marshall Bradshaw

With a title like Love and Information, Forum Theatre’s newest show grants itself a wide warrant, delivering quite a bit of the former and volley after volley of the latter. The show reall…

Linked From DC Theatre Scene at 11:42AM
Thursday, September 14, 2017

In Cabaret We Trust at Blind Whino (review) by Marshall Bradshaw

In Cabaret We Trust is a carnival of artistic talent from across a variety of media, even inviting the audience to participate. TBD Immersive earns its name by opening up a tremendous set s…

Linked From DC Theatre Scene at 10:24AM
Tuesday, September 5, 2017

Scena’s Julius Caesar, a bit of a muddle (review) by Marshall Bradshaw

It’s very easy to wheel out Shakespeare for yet another production. It’s effortless to claim that your production is Important because it speaks to the current political climate. But wit…

Linked From DC Theatre Scene at 04:18PM
Tuesday, July 25, 2017

Synetic’s signature portrait of evil: Mark of Cain (review) by Marshall Bradshaw

In their first original piece in five years, Synetic Theater tells a grand story, from humanity’s flawed origin all the way to an ignominious end. The non-stop display of physical prowess …

Linked From DC Theatre Scene at 01:06PM
Monday, July 17, 2017

P.I.C. : The Prison Industrial Complex (Capital Fringe review) by Marshall Bradshaw

With P.I.C. : The Prison Industrial Complex, the Conciliation Project hits the cruelty of the American criminal justice system hard with just about everything they can throw at it: Scores of…

Linked From DC Theatre Scene at 03:24PM
Friday, July 14, 2017

A Capital Fringe pub crawl of H Street bars by Marshall Bradshaw

We sent Marshall Bradshaw out to check on what the bars near Fringe headquarter have to offer all you Fringe-goers. Here’s his report. Star & Shamrock Tavern & Deli 1341 H St N…

Linked From DC Theatre Scene at 05:18PM
Monday, July 10, 2017

Spy in the House of Men (Capital Fringe review) by Marshall Bradshaw

Autobiographical solo performances are a major food group at Capital Fringe. Spy in the House of Men follows the recipe step-by-step, but stands out from the rest as particularly well-writte…

Linked From DC Theatre Scene at 03:54PM
Sunday, July 9, 2017

8 Bit Circus Sh*t (Capital Fringe review) by Marshall Bradshaw

8 Bit Circus Sh*t’s two acts are almost as different as fire and ice. Both are video game-inspired displays of fire circus tricks, but vary greatly in excitement and accessibility. Act I t…

Linked From DC Theatre Scene at 06:33AM
Saturday, July 8, 2017

The Blind (Capital Fringe review) by Marshall Bradshaw

Against a backdrop of trendy dramedies and raunchy musicals, the Wheel Theatre Company’s The Blind leads its audience to a cold, dark forest a century old. Your experience depends on how f…

Linked From DC Theatre Scene at 08:06AM
Friday, June 16, 2017

August Wilson’s How I Learned What I Learned, simple, evocative. (review) by Marshall Bradshaw

In a moving memorial, director and co-conceiver Todd Kreidler uses solo actor Eugene Lee to call his friend and mentor’s spirit back to the world. Playwright August Wilson seized the oppor…

Linked From DC Theatre Scene at 10:42AM
Tuesday, June 13, 2017

Nick Olcott sprinkles magic on Oberon from In Series (review) by Marshall Bradshaw

Oberon, king of the fairies, has been challenged by his queen Titania to write a play to rival Shakespeare’s A Midsummer Night’s Dream without resorting to magic. But Oberon, though beau…

Linked From DC Theatre Scene at 08:54AM
Wednesday, June 7, 2017

David Ives’s The School for Lies (review) by Marshall Bradshaw

Playwright David Ives’s mastery of rhymed verse builds on Molière’s 17th-century comedy of manners. Together, they will leave your sides aching. The School for Lies is the fourth French…

Linked From DC Theatre Scene at 11:54AM
Tuesday, May 16, 2017

Synetic’s Hunchback of Notre Dame: thrilling and heartbreaking (review) by Marshall Bradshaw

A wordless production of The Hunchback of Notre Dame makes plenty of sense: Quasimodo has literally gone deaf from ringing the bells of Notre Dame. And on a deeper level, the primal forces a…

Linked From DC Theatre Scene at 08:24AM
Wednesday, May 3, 2017

Forum brings Schenkkan’s must-see Building the Wall to Arena and Silver Spring (review) by Marshall Bradshaw

Speculative political fiction written six months ago and set a mere two years from today is a bold thing to write and produce. But there was a moral imperative to the subject of this play …

Linked From DC Theatre Scene at 10:36AM
Tuesday, April 25, 2017

The Most Spectacularly Lamentable Trial of Miz Martha Washington (review) by Marshall Bradshaw

In the midst of a fever dream, The Most Spectacularly Lamentable Trial of Miz Martha Washington flips the power dynamic of Mt. Vernon and leaves first First Lady Martha Danbridge Washington …

Linked From DC Theatre Scene at 09:12AM
Thursday, April 20, 2017

Patience pays off in The Late Wedding at Hub Theatre (review) by Marshall Bradshaw

The Late Wedding doesn’t have a traditional plot. Instead, the play is more like a lesson plan: Its central theme is introduced and explained methodically, and then the audience is exposed…

Linked From DC Theatre Scene at 07:36AM
Tuesday, April 18, 2017

.d0t: a RotoPlastic Ballet, short and very much on point (review) by Marshall Bradshaw

With puppetry, projection, lighting, and video timed perfectly to a live, original, nerdcore rap score, .d0t:: a RotoPlastic Ballet runs like clockwork, even as it tells the stories of machi…

Linked From DC Theatre Scene at 10:18AM
Monday, April 3, 2017

Nilaja Sun’s Pike St. at Woolly Mammoth (review) by Marshall Bradshaw

Nilaja Sun’s latest solo-performance, Pike St., calls back to her upbringing in the Lower East Side to invoke a rich cast of characters, but is held back by a design choice and brief dur…

Linked From DC Theatre Scene at 01:36PM
Wednesday, March 22, 2017

Coolatully from Solas Nua (review) by Marshall Bradshaw

Coolatully hits every single trope of a modern Irish story with an impeccable, though taciturn exactitude. Solas Nua is “the only organization in the United States dedicated exclusively t…

Linked From DC Theatre Scene at 09:24AM
Monday, March 13, 2017

Coolatully from Solas Nua (review) by Marshall Bradshaw

Coolatully hits every single trope of a modern Irish story with the impeccable, taciturn exactitude. Solas Nua is “the only organization in the United States dedicated exclusively to conte…

Linked From DC Theatre Scene at 06:32AM
Tuesday, February 21, 2017

God of Carnage lives up to its rep at Compass Rose (review) by Marshall Bradshaw

There are many different types of laughter in a theater: Chuckles from slapstick, a knowledgeable laugh at word play… God of Carnage reaches into the audience, grabs hard, and drags ou…

Linked From DC Theatre Scene at 08:48AM
Monday, February 6, 2017

Baby Screams Miracle at Woolly Mammoth Theatre (review) by Marshall Bradshaw

Baby Screams Miracle is a wild storm of religion, sexuality, and family that leaves the audience unsure if the rest of the world is still standing. From the first moment that Cody Nickell as…

Linked From DC Theatre Scene at 10:06AM
Tuesday, January 31, 2017

Falling for As You Like It at Folger (review) by Marshall Bradshaw

Full of song, love, and laughter, As You Like It will sweep you off your feet. If you don’t love it at first sight, wait. Of all the couples in this romantic story, the best chemistry in A…

Linked From DC Theatre Scene at 11:48AM
Thursday, January 26, 2017

Lumina Studio’s adapted LEAR (review) by Marshall Bradshaw

Lumina Studio Theatre packs LEAR with high-concept projections and mute scenes, but does best when they give their actors room to play. Director/Assistant Director David Minton’s adaptatio…

Linked From DC Theatre Scene at 08:24AM
Thursday, December 1, 2016

The Tarot Reading experiment – a vision for the future? by Marshall Bradshaw

Something strange happened last Halloween: The Tarot Reading took its first steps. With both inaugural performances sold out, the brainchild of Alan Katz and Quill Nebeker could have a long …

Linked From DC Theatre Scene at 03:24PM
Friday, November 18, 2016

Straight White Men at Studio Theatre (review) by Marshall Bradshaw

In Straight White Men, playwright Young Jean Lee finds remarkable insight and startling sympathy with our society’s least oppressed identity. Far from a brutal if well-deserved takedown, L…

Linked From DC Theatre Scene at 08:36AM
Tuesday, November 8, 2016

Stephen Spotswood’s Girl in the Red Corner (review) by Marshall Bradshaw

The Welders’ latest show, Girl in the Red Corner by Stephen Spotswood, falls short of some expectations, but makes up for it in its many human moments delivered by its talented cast. Aud…

Linked From DC Theatre Scene at 12:31PM
Tuesday, October 18, 2016

The Year of Magical Thinking at Arena Stage (review) by Marshall Bradshaw

Switching between mediums can be as difficult as telling someone about a dream. If the new version cannot deliver on everything the original does (next to impossible), it better bring some v…

Linked From DC Theatre Scene at 11:24AM

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