Sam's Review Club

Dancers Lauren Stucko (senior) and Madison Brott (junior) beautifully dance the roles of Red Girl and Pink Girl in Lar Lubovich's  A Brahms Symphony. Photo by Tim Coburn George Mason University is a bit of a trek when discussing arts organizations in the DMV area. If Saturday night’s School of Dance Fête and Gala Concert is any indicator, then this trek is worth making. Celebrating the strides Mason’s (still young) dance program has made in recent years, the evening was a unique combination of educational panels and dance showcases. With four moving performances capping off the evening, Mason’s dance program cements itself as one to not be underestimated. Beginning the evening with the Dance Fête (meaning a celebration or festival) allowed the Mason faculty and students to better connect with their most ardent supporters. Multiple panel discussions were held to break down the upcoming performances on stage in a way which made those who may not have an extensive dance

Photo by: Susana Millman Don't be fooled by all of the bright colors. The Mark Morris Dance Group's (MMDG) newly commissioned Layla and Majnun , which opened last night at the John F. Kennedy Center for the Performing Arts, lacks the necessary energy to elevate this tragic yet formulaic love story. It's evident from the start that all of the performers on stage are immensely talented, which is why the lack of cohesion throughout the evening becomes frustrating. A Persian love story that has previously been expressed mostly through poetry, Layla and Manjun is a story of star-crossed lovers akin to Romeo and Juliet . Despite growing up together as childhood sweethearts, Majnun is believed to be possessed by his love for Layla and the two are driven apart. Layla is then married off to another while Majnun becomes a hermit who writes lengthy verses about his immense love for her. Though the two attempt to meet later in life, they die without ever doing so.

Photo credit: Margot Schulman Few productions can claim to be as much of an institution as Shear Madness is to Washington, D.C. With over 13,000 performances under its belt at the Kennedy Center, this show has become once of theater's most notorious tourist traps. This comedic caper whose plot can vary wildly each night incentivizes repeat viewings to those who are true converts. And although the stereotype-laden script struggles when viewed in 2018, the immersive whodunnit remains an experience unique enough to justify Shear Madness 's continued existence. Walking into the Kennedy Center's intimate Theater Lab space, it is clear the evening will be a wacky one. The vibrant set decoration (originally designed by Kim Peter Kovac and adapted by Scott L. Hammar) is a treat to look at. Contrasting blues and pinks pop and pull the eyes to a new part of the set every few moments. Coupled with Mr. Hammar's complimentary costumes, the sensory overload is a good pr

Photo Credit: Christopher Banks The Women’s Voices Theatre Festival may be winding down in D.C. proper, but Alexandria’s MetroStage is looking to keep the focus on female-centered stories with their Spring Solo Series. The second of these one-woman shows, George—Don’t Do That: The Music and Magic of Joyce Grenfell, is a love-filled tribute to British comedienne Joyce Grenfell who became a global sensation in the mid-20th century thanks to her intellectual satire and good natured spirit. Despite clear adoration for the play’s subject, the work doesn’t properly explain who Ms. Grenfell is or why she became so famous, information which would be helpful for a modern American audience. British actor Catherine Flye (MetroStage’s Christmas at the Old Bull and Bush ) stars as Ms. Grenfell in this tribute which she has been performing throughout the British Isles since 2003. It’s surprising, then, that so much of this production feels incomplete. On many occasions, Ms. Flye referenc