Music, love and dancing in Alexandria!

From left, Rachael Fine, Alicia Braxton, and Lori

Bonnette in Little Theatre 

of Alexandria's She Loves Me/By Matt Liptak

 

And you thought your Christmases were hectic!  Guurrrll….you hadn’t seen nuthin’ yet ‘til you see the dancers and singers whizzing through the 12 days of Christmas at light speed like they do in She Loves Me, a delightful musical comedy now on stage at Little Theatre of Alexandria. 

It’s one of the funniest scenes in the show with a big cast of 17, and all of them, royal entertainers. 

At Maraczek's Parfumerie, the clerks are constantly on the prowl for needy customers who fill the store before Santa arrives, with the pace accelerating as the reindeer draw closer and it's a frenetic chase to find the finest gifts.

The whole play is lots of fun and entertainment. It's a predictable script:  boy meets girl; they grimace, they hiss; they howl...whoa!  They are meeting whom for dinner?  

From left, Stephen Yednock and Evan Arellano star in Little Theatre of Alexandria's She Loves Me/By Matt Liptak

Which takes place in my second favorite scene, at the restaurant with black sexy tablecloths and red curtains where the waiter (Evan Arellano) goes down on the floor for the count, while the headwaiter (Stephen Yednock) sings the humorous A Romantic Atmosphere, delighting the ears of the audience, his voice, one of the best and strongest in the show.

Shelby Young is the jilted Amalia waiting at a table meant for two since her “blind” date never shows (to the best of her knowledge). (Young performs at LTA via the Sydney Opera House and Carnegie Hall, no less. You'll hear why.)

 

The setting is a 1934 shop in Budapest, that city chosen because She Loves Me is based on a 1937 play by Hungarian playwright, Miklós László  which was adapted for the 1949 musical In the Good Old Summertime and later, the 1998 movie You’ve Got Mail. (Rupert Holmes's early 1980s tune, Escape! The Pina Colada Song may have found its roots in Hungary, too.)

Phil Krzywicki is the realistic Mr. Maraczek, the owner of the Parfumerie and the typical retail boss trying to squeeze every last dollar from his customers who come in single file to shop. 

The story centers on George (Anthony Galace), a natural in his role as the assistant store manager and later, a paper starstruck lover, who doesn't particularly cotton to Amalia as her career in the shop launches.

It's through a lonely-hearts club that their true matches turn up.

Mr. Maraczek and Georg have disagreements but none as bad as the false rumor flying that a clerk, Steven Kodaly (Brandon Schenk), is sleeping with the boss's wife!  Hold on for an (almost) tragedy.

Handsome Steven is also a not-so-good boyfriend of the cutest, peppiest clerk there could ever be, Ilona (Maura Lacy) whom Steven strings along, but Ilona has good luck at the library and delivers one of the greatest hits of the night with the strange and you’ve got-to-be-kidding title, A Trip to the Library. (Folks, it really is good.)

  

Meanwhile, everybody should have a helpmate like Michael McGovern who as Ladislav (emphasis on the last syllable) helps Georg sort through conflicts and make everyone feel good, like the frisky Arpad (Mylo Cluff) who pops up often to make things right.

The ensemble includes Dale Dwyer, Lori Bonnette, Alicia Braxton, Rachael Fine (dance captain), Gavin Hubbard, Jordan Lohmeyer, Jennifer Thomas, and Brett Womack.

Mitchell Aiello directed and choreographed the show with music direction by Isabel Hernandez-Cata. Eleanore Tapscott produced, assisted by Cassie Cope.

   

Julie Fischer has designed two stunning levels of colorful parfumeries and cosmetics. (Where did Brooke Angel Markley and Jennifer Rubio find all those bottles?)  Ari McSherry's shadow lighting accentuates the presentation.

Fashionistas will admire the many stylish period costumes by Juliana Cofrancesco and Farrel Hartigan and those hats!  Love 'em!  

And for seasons changing?  A clever dropping of leaves and snow will suffice, if you please.

Matthew Brown plays the piano and conducts the hidden orchestra of 11 members who bring welcome live music to the theatre. 

Monique Mormon and Alais Reiter are stage managers. Alan Wray, sound director; Diana Almeida, hair and makeup

The preview of Christmas coming will ease minds that ours are not exactly like theirs...or are they?

Harold Prince directed the original Broadway show She Loves Me in 1963, and 1993 and 2016 revivals all together produced a total of 22 Tony Award nominations! 

What:  She Loves Me by Joe Masteroff, Jerry Bock, and Sheldon Harnick

When:  Now through Nov. 7, 2026 on Thursday - Saturday at 8 p.m. Sunday matinees at 2 p.m.

Where:  Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

How much:  $36 + $4 service fee.

Parking:  On the street and at the nearby Capital One Bank.

Audience:  Themes are best suited for younger teens on up. 

Language:  Rated "G."

For more information:  Box Office: 703-683-0496; Main Office, 703-683-5778 or boxoffice@thelittletheatre.com.

patricialesli@gmail.com

'Fridamania' arrives at Shakespeare

Vanessa Severo as Frida Kahlo communicates with Diego Rivera in Severo's Frida...A Self Portrait now at Shakespeare Theatre Company/Photo by Michael Brosilow

For Frida lovers, this is a must to see.

She comes in a "self portrait," conceived and written by Vanessa Severo, a woman fascinated by Frida Kahlo after a friend told Severo that she reminded him of the icon.

That observation has led Severo on a never-ending quest to learn as much about the artist as possible, and herewith, her production, Frida...A Self Portrait, presented many times across the globe since 2014 and now in Washington at the Shakespeare Theatre Company

In the one-act play, Severo describes the many traumas of Kahlo's short life (1907-1954), Severo's research  constantly turning up new details and digital information she incorporates in her Frida story.

Frida's polio at age 6 and a devastating bus accident in Mexico City when she was 18 changed her life trajectory from budding medical student to artist.

The wreck broke her spine, ribs, pelvis, foot, leg, and collarbone and led to 30-plus surgeries and constant lifelong pain. 

Her on-again, off-again relationship and marriages to Diego Rivera, two abortions and the discovery of her sister having an affair with her husband increased Kahlo's heartache and anguish, all Severo sketches in her  biography. 

Throughout the show, Severo is energetic and emotional, seemingly breathless at times, while she darts from one side of the stage to the other, often shrieking in pain when still. 

The many costumes she wears in an outstanding and clever design by Jacqueline Penrod hang on clotheslines which crisscross the stage, one of them becoming a rope Frida grasps as she might have held while riding the bus.

Rivera is easy to recognize in an outfit of large coat and pants which surround Frida when she inserts her arm in the coat's armhole and hugs herself.  

One of her last "costumes" was the tight body brace she wore for support.

In an interview printed in the program Severo says Kahlo taught her how to endure pain and to embrace her (their) differences.  

Rachael Cady's extraordinary lighting and Thomas Dixon's sound designs and original musical composition combined with Severo's presentation produce a memorable interpretation of Kahlo's life. 

Other key members of the artistic crew are Severo's friend and collaborator, Joanie Schultz, who directs; Katherine Davis, costume designer, and Janine Vanderhoff, stage manager.

What: Frida...A Self Portrait

When: Now through Nov. 8, 2026

Where: Klein Theatre, Shakespeare Theatre Company, 450 7th Street, N.W.

Tickets: Start at $39

Box office: 202-547- 1122

Duration: About 75 minutes without intermission

patricialesli@gmail.com

 

Only in DC! Bach and Frederick the Great

Adolph von Menzel, 1815-1905, Frederick the Great Playing the Flute at Sanssouci, 1852 with Carl Philip Emanuel Bach on  harpsichord, Carl Graun (standing, between two ladies on the left), Johann Quantz (far right) and Franz Benda (second from right), all portrayed in Theatre Royal Bath's The Source at Shakespeare Theatre Company/Wikipedia, Alte Nationalgalerie, Berlin.

To see British theatre on stage in Washington, one may go immediately to the Shakespeare Theatre Company's website and purchase tickets for the outstanding production by Theatre Royal Bath which has crossed the pond, bringing with it the troupe and a royal star who deliver one of the great performances of the season in Washington, D.C., its only U.S. venue. 

Sir Trevor Nunn (you do remember his Cats and Les Misérables?) directs.

The star is global winner Brian Cox and the show, The Score  by Oliver Cotton, based on a true encounter between Johann Sebastian Bach (Cox) and Frederick II, King of Prussia (Stephen Hagan) in 1747 when the two met in  Potsdam.

Real-life husband and wife, Brian Cox and Nicole Ansari-Cox are Anna Bach and Johann Sebastian Bach in Theatre Royal Bath's The Source at Shakespeare Theatre Company/By Theresa Castracane

Certainly, set designer Robert Jones and lighting designer Johanna Town must be students of Vermeer and his window works since they duplicate the painter’s haunting shadows and lighting in the opening scene with Bach and his wife, Anna (Cox's real-life wife, Nicole Ansari-Cox) seated inside their home in Leipzig, complaining about the outside clamor they hear emanating from the king's soldiers whose commotions upset residents. (Sophie Cotton is sound designer.) 

Bach is like a fuse waiting to be lit.  He’s unhappy, gruff and mad at the world.  His daughter (never seen) is ill, yet he must leave her and go visit the king who has summoned him to Potsdam. 

Anna pushes her husband out the door.

Like many artists who'd rather be doing most anything else, Bach resists visiting “your highness,” but, alas! The king wants to meet the musical genius.

In conversation, it's not long before Bach (1685 –1750) , the moralist and strict Lutheran, challenges the atheist king (1712-1786) to atone for his soldiers' rape of a blind 14-year-old girl in Leipzig, and the king responds, so what? "These things happen."

Bach is the good; the king, the bad.  Bach, morality; the king, unscrupulous, but, maybe, towards the end, scrupulsome? 

His father, Frederick William I, the "soldier king," had brought his son up "to be a man," treating him brutally, shunning his son’s interests in the arts and prohibiting Frederick II's pursuit of culture, even beheading II's rumored homosexual lover in front of his son.

Nevertheless, Frederick II became a great musician, a composer and a flutist in his own right.

Hagan's performance was absolutely captivating as king, to see him move around the stage like a stag, the very best of any king I’ve seen, a stunning portrayal of Frederick II, and coming close to riding roughshed over the star.

He is strong, he is arrogant, he is confident as he flings himself upon a chair and extends both arms, his legs, splayed. And when he stands, his arclike posture  commands all the personalities around him. But he is the king.

Jamie Wilkes is Bach's subservient son, Carl Philip Emanuel Bach, a convincing rendering of an offspring who competes with other court composers  (the king’s sycophants, Christopher Staines, Matthew Romain, Toby Webster) utilizing the history of Bach I and the king, to participate in an outrageous bet about his father’s talents.

From left, King Frederick II of Prussia  (Stephen Hagan) with court composers (Christopher Staines, Toby Webster, and Matthew Romain) in Theatre Royal Bath's The Source at Shakespeare Theatre Company/By Theresa Castracane

From left, Voltaire (Peter De Jersey) and Johann Sebastian Bach (Brian Cox) backed by court composers (Christopher Staines, Toby Webster, and Matthew Romain) in Theatre Royal Bath's The Source at Shakespeare Theatre Company/By Theresa Castracane

Voltaire (Peter De Jersey) who lived for a while with Frederick II, declaring him to be "a philosopher-king," and exchanging many letters with him,  pops up every now and then in a lusty, comedic presentation to add doses of humor and lighten the score. (The play has lots more humor than anticipated.) 

Jones's exceptional sets and costumes match the luxury of von Menzel's painting.

The similarities to today’s American society and leadership leap to mind several times during the play, watching opposites contrast between the main characters, good and evil, and the conflicts between the people and a ruler who cares little about them and their wellbeing.

Other cast members are Juliet Garricks, Will Kerr, Jordan Kilshaw, Claire Morrissey, Max Pink, and Geoffrey Towers.

I can’t recall ever listing a casting director but kudos to Ginny Schiller! 

Other artistic team members are Cordelia Monsey, associate director; Theatre Royal Bath Productions, Len Blavatnik, Danny Cohen, producers; Laura Smith, Felix Dunning and Lorna Earl, stage managers.

 

What: The Source

 

When:  Now through Oct. 25 (extended), 7:30 p.m., Tuesday – Sunday; 2 p.m. every Saturday and some Thursdays and Sundays

 

Where:  Shakespeare Theatre Company, Harman Hall, 610 F Street NW, Washington, DC 20004

 

How much:  Tickets start at $39

Duration:  About 2.5 hours with one intermission

 

For more information:  Ph. 202.547.1122,  7 days a week, 12–6pm

'Blithe Spirits' land in Alexandria

From left are Cameron McBride (Dr. George Bradman), Eric Kennedy (Charles Condomine), Eleanore Tapscott (Madame Arcati), Sarah Cusenza (Ruth Condomine), and Raeanna Nicole Larson (Mrs. Violet Bradman) in Little Theatre of Alexandria's Blithe Spirit/Photo by Matt Liptak

The Little Theatre of Alexandria stages another welcome classic with Sir Noël Coward’s Blithe Spirit, a comedy that’s been around longer than most (b.1941) and there's a reason for its continual return to the world's stage: It's a treat and a (sky) lark (?)! A great escape!

Percy Bysshe Shelley in 1819: "Hail to thee, blithe Spirit!"

It was England and World War II when the bombs were dropping a'plenty, but its citizens needed a respite every now and then, like we all do (like now).

To the manor house, they go, some, from the “other side.”

Ruth (Sarah Cusenza) and Charles Condomine (Eric Kennedy) are hosting a dinner party in their elegant home with friends (who are real life husband and wife, Cameron McBride and Raeanna Nicole Larson) and a “medium” (Eleanore Tapscott).

Charles is a famous novelist and plans to milk medium Madame Arcati for any tips she can give him for a story he’s writing.

Things do not go as planned. Madame Arcati is anything but "medium."

Post dinner, she becomes a big scarlet macaw (whose colors Madame matches), sweeping around the room, landing momentarily at one spot or another before flying to her next perch with a wingspan of almost four feet, while the other adults in the room sit in amazement, mouths ajar.

Katie Weigl is Elvira in Little Theatre of Alexandria's Blithe Spirit/Photo by Matt Liptak

Madame conducts a séance and unwittingly summons the ghost of Charles’s first wife, Elvira (Katie Weigl), who died young, after only five years of marriage.

And here she comes, through windswept doors, the sassy Elvira, dressed all in grey, a long flowing gown with cape and face color to match.

Like all ghosts, she flits around the stage, rushing left to right and back again, throwing her hands in the air and seeking to disrupt Charles and Ruth’s marriage.

Charles is the only one who, initially, can see and hear Elvira, her teasing which begins to create havoc in the Condomines’ household.

Ruth can hear Charles speaking to Elvira and thinks his words are meant for her.

Charles to Elvira: "I could drink you under the table."

Ruth: "There's no need to be aggressive, Charles. I'm doing my best to help you."

A few minutes later, Charles tells Elvira to "shut up!"

Ruth: "How dare you speak to me like that!"

(Ms. Cusenza’s Ruth is splendid, talking to a wall or sofa or portrait on the wall, the piano, wherever she thinks Elvira sits or stands, not an easy task to perform with someone who is not there but is there. [Huh? You have to be there.])

Soon, there’s a murder and now there are two ghosts, each in ghostly grey apparel and caked in heavy grey makeup (which made me wince to think about removing it. Maureen Roult designed the hair and makeup).

Just what a man needs: Two wives screaming at him simultaneously after a brief interlude in a menage a trois ahead of chaos. (May I suggest to a producer that he or she exchange principal roles so the wife endures two ghostly husbands?)

The setting is absolutely divine, darling (by Julie Fischer), the parlor of a 1930s luxurious home where the servant, Edith (Caroline J. Berger) runs hither and yon or slows (per Ruth) to serve tea and refreshments to gents and ladies whom costumers Jean Schlichting and Kit Sibley have dressed to the nines: the women in floor length silken gowns with gloves and fancy jewelry, the men in equal getup.

Which ghost “wins”? Come, blithe spirits, see and laugh at them.

The biggest “star” of the night was the superb acting by all the characters, no disappointments by nary a one. Hats off to director Ward Kay, assisted by Liz Isbell.

Other crew members are David Correia, sound; Ken and Patti Crowley, lighting; Maureen Dawson and Jennifer Rhorer, stage managers; Olivia Hinebaugh and Misty White, combat and intimacy directors; Meredith J. Ludwig, producer; Monique Morman, technical director; and Emilie Pade, properties.

I’ll have one of those cucumber sandwiches, if you please and thank you.

What: Blithe Spirit

When: Now thru Sept.19, 2026, Thursday – Saturdays, 8 p.m., Sunday matinees, 2 p.m.

Where: Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314  

Admission: $30 (fee, included)

Duration: Almost three hours with one intermission

Audience: Mature teens on up

Language: A few “adult” words sprinkled here and there 

Parking: Park for free on the streets or at the nearby Capital One Bank. 

For more information: Box Office, 703-683-0496; boxoffice@thelittletheatre.com

patricialesli@gmail.com 

Shakespeare Academy graduates charge the stage thru Saturday

From left, Kendall Kent, Kimberly Colisch, and Julian Cividanes star in Shakespeare Theatre Academy's Macbeth/Shakespeare Theatre Co.

Two Shakespeare plays for $40! Unbelievable!

Almost as unbelievable as the dazzling acting seen on the Shakespeare Theatre Company's Klein Theatre. 

But hurry! Remaining tickets are few.

 

They are the ending performances by graduates of the Master of Fine Arts program the Shakespeare Theatre Academy offers in conjunction with George Washington University.

 

“If music be the food of love, play on!” They did.

From left, Bridget Campbell, Robert Kittler, and Michael Girts star in Shakespeare Theatre Academy's Twelfth Night/Shakespeare Theatre Co.

The graduates are completing their year of extensive training in the fine arts of stage combat, classical language, acting, text, voice, speech, movement and combat experience, taught by accomplished actors and trained crew.

Lest anyone think these are amateurish shows because they are performed by “new” graduates,  not only have these students graduated college with each boasting a string of performances ranging from off Broadway to local companies to regional theatres throughout the U.S., they are, in the words of Malvolio:

 

“not afraid of greatness” for 

“some are born great, some achieve greatness, and some have greatness thrust upon ‘em.” 

They all perform in both the comedy, Twelfth Night and the tragedy, MacBeth and who's to say which is better?

The sets are minimal, the costumes (by Cidney Forkpah, assisted by Lily Komarov) are contemporary, but the sounds, the sounds!  (By Matt Nielson who composed original scores) are outstanding: 

The thunder!  

The clashing of helmets! 

The lightning (sound?), 

The waves crashing upon the shore while the Twelfth Nighters bend from their waists and sway with the waves before the shipwreck off the coast of Illyria and the ensuing mix-ups. (In Shakespeare?  Mix-ups? ‘Tis cannot be!) 

The scariest ghouls made up in the most divine (?) ways! They move, they float, they come at your throat!  

(The orchestration of the stringed instruments was most pleasing to the ear.)

Puppet Designer Ksenya Litvak’s puppets are magnificent. (Andrey Stuurman was consultant.)

 

And who can pass up opportunities to hear words of the master spoken on stage as in:

“O, full of scorpions is my mind!”

“Out, damned spot! out, I say!”

“Double, double, toil and trouble;
Fire burn, and cauldron bubble!”

“Fair is foul, and foul is fair, hover through fog and filthy air.”

 

The graduates are Bridget Campbell, Julian Cividanes, Kimberly Colisch, Kira Cornell, C.J. Craig, Michael Girts, Sofia Hernandez Morales, Claire Hilton, and Cameron Holder.

Also, Kendall Kent, Robert Kittler, Anna Marzullo, and Lenny Mendez Terceros, Matilda Musser, and Olivia Potter.

 

Jess Chayes directs Twelfth Night; Alec Wild, Macbeth.

 

Other artistic team members are:

Minjoo Kim, lighting; Robb Hunter, fight director; Bess Kaye, intimacy coordinator; Lisa Beley,
voice and text coach; Cammiel Hussey, Twelfth Night, and Katie McDonald, Macbeth, assistant directors; Maddie Caldis, production manager; Regina Vitale, stage manager; Maria Mills,  
assistant stage manager.  

Applause to all, especially to Emma Crane Jaster, movement director.

 

Remember, there is always: 

“To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”

And

“What's done, is done”

What:  Twelfth Night and Macbeth

 

When:  In repertory through Saturday, July 25, 2026 at 7:30 p.m. and one Twelfth Night matinee at 2 p.m., July 25.

 

Where:  Shakespeare Theatre Company, Klein Theatre, 450 7th Street NW, Washington, DC 20004

 

How much:  $25 each performance or $40 for both

Duration:  Twelfth Night runs almost three hours with one intermission; MacBeth, about 2.5 hours with an intermission.

For more information:  Box Office, 202-547-1122, 12 – 6 p.m. and open until curtain on show days.

Patricialesli@gmail.com

Shakespeare's 'Wild Duck' is must-see

Melanie Field is Gina Ekdal and Nick Westrate is Hjalmar Ekdal in Shakespeare Theatre Company's The Wild Duck/By Gerry Goodstein

Do you reveal the truth to those around you, thinking it will help when it's none of your business?

When "the truth" may set you free but may make matters worse and upset family dynamics?

Do I tell my best friend her husband is having an affair with her next door neighbor? Or that I heard from medical team members that her mother's cancer has returned and it's terminable?

Is it up to me?

The second act of The Wild Duck caused my hand and fingers to stop moving.

I was hypnotized and my notetaking ceased, overcome by Shakespeare Theatre Company's Henrik Ibsen's The Wild Duck, "rarely performed" and likely the only time I'll see it, according to program notes by the theatre's artistic director, Simon Godwin, who directs.

Not one sneeze, one cough, or one dropped program by audience members sounded in the auditorium of several hundred.

We were breathless, unable to break the total silence which engulfed the venue.

But lest I go hyperbolic, do go prepared. Read a synopsis beforehand, but even that won't prepare you for this spellbinding performance.

The first act is the calm before the storm, the explosion of the second act when Gina (Melanie Field), a mousy wife we are led to believe, evolves into a forceful dynamo to stand her ground and make her pleas that she is a loving wife, no matter what has happened in the past, but husband, Hjalmar (Nick Westrate), refuses to accept her arguments when she begs for forgiveness and acceptance of the past.


Their daughter, Hedvig (Maaike Laanstra-Corn) is a clingy type, torn by her dad's anger and her blood curdling screams typify the tragedy which I joined in mourning. (Had I not been "prepared," no doubt I would have been sobbing with the woman behind me.)

The first act's gentle husband becomes a possessive spouse/louse, urged on by the devil incarnate, Gregers Werle (Alexander Hurt), always wearing black and spouting the same, trying to "do good," or is he?

Can't you realize, Hjalmar, what's happening? But, Hjalmar is blinded by passion and the past.

David Patrick Kelly is Old Ekdal in Shakespeare Theatre Company's The Wild Duck/By Hollis King

The acting is superb, none finer than that by David Patrick Kelly, the slow and bent grandpa who has a relationship, too, with the arrogant and conceited patriarch (Robert Stanton) who has relationships with everybody, including his disaffected son who resist his father's moves and money.

Alexander Sovronsky is the music director who, with sound designer Darron L. West, has composed a beautiful and unforgettable score of 19th century Norwegian folk and classical music which Sovronsky plays on various instruments between scenes.

It is David Eldridge’s version of Ibsen's play, the place, Norway in the 1880s.

Ibsen is often referred to as the "father of modern drama" and, according to Wikipedia, "the most important playwright since Shakespeare" who influenced, among others, George Bernard Shaw, Oscar Wilde, Eugene O'Neill, and James Joyce.

Some consider Wild Duck the most complex and Ibsen's finest work, the first modern masterpiece in the genre of tragicomedy, but writing about it, the humorous parts totally eclipsed me who found it somewhat sexist.

In program notes, Drew Lichtenberg quotes Ibsen: Wild Duck "will certainly provoke discussion, but it cannot possibly give offense to anyone." I beg to differ.

Cast members include Katie Broad, Mahira Kakkar, Bobby Plasencia, and Matthew Saldivar.

Other creative team members are Andrew Boyce, scenics;
Heather C. Freedman, costumes; Stacey Derosier, lighting;
Jacob Grigolia-Rosenbaum, movement and fight director; Andrew Wade, voices; Satellite Wigs; Jonno Knust, properties; Laura Smith, production stage manager; Dayne Sundman, assistant stage manager.

Produced in association with Theatre for a New Audience, this makes Ibsen STC's second most-produced playwright after ...

What: The Wild Duck

When:  Through Nov. 16, 2025 at 7:30 p.m. with weekend matinees at 2 p.m.

Where: Shakespeare Theatre Company's Klein Theatre, 450 7th St., NW, Washington, DC 20004

Tickets: Start at $39

Audio Description: Saturday, Nov. 8, 2pm 

Open Captioning: Wednesday, Nov. 12, 12 p.m., and Nov. 13, 7:30pm

Audience: For adults and mature children 

For more information: Call the Box Office at 202-547-1122, seven days a week, 12 – 6pm which remains open until curtain time. ShakespeareTheatre.org.

Duration:  About 2.5 hours with one intermission  

Metro Stations: Gallery Place, Archives, Metro Center

patricialesli@gmail.com