Past Productions

"The show, powerfully directed by Lucinda Merry-Browne, brings together a diverse group of women in a Baltimore halfway house who form friendships and lifelines as they struggle to remain afloat in the rapids of life.They are fragile, damaged, hurt. Most of the women are or have been prostitutes, drug users or both. Some use heroin – a rising problem in central Maryland – some love the thrill of the drug speed. As young kids, almost all were thrown out of their parents’ homes or abandoned to the streets."
- Wendi Winters, DC Metro Theater Arts

"Ali Evarts plays CC, who comes to the halfway house clearly in anguish. She has, for the moment, escaped a life of prostitution, and her busy, antsy fingers can’t stay away from her hair. She is thin; seemingly small, like a wounded animal waiting to be hurt again. [...] Evarts’ CC shines in a speech that begins, “I’m a bad mommy. You know when you’re a bad mommy.” The pain and loss cut to the quick; Evarts has really connected with the real agony of the loss of CC’s daughters. She has lost everything, what little she ever had, and is burdened with a secret she cannot tell."
- Joshua Engel, Theatre Bloom

"Henley’s impulse to report truthfully about her subject battles with a poetic instinct as the women bicker, commiserate and yearn for better things. There’s a mystery about a vanished girl and her mother’s search, and about a pair of kids’ shoes that gets swiped and leads to a war between a jumpy white woman (an edgy Ali Evarts) and a hot-tempered pregnant black woman (Ayune’ Boone)."
- Nelson Pressley, Washington Post

Current Projects

Upcoming

Current Projects

Upcoming

Past Productions

"In a country where its art and culture are increasingly at odds with the health and well being of its citizens, both men and women, where can the young turn for guidance? The famous mythologist Joseph Campbell spoke about the difference between the hero and the celebrity. The hero (or heroine) “is someone who has given his or her life to something bigger than oneself.” She does and accomplishes that bigger “something.” On the other hand, our modern celebrity doesn’t do, but simply is. Mary-Kate Olsen is in Love yearns for the former while sifting through the latter. Campbell also wrote: “We must be willing to let go of the life we planned so as to have the life that is waiting for us.” And that holds true, whether that life was planned for us by the cultural narratives around us or by some more esoteric and ancient means. Mary-Kate Olsen is in Love leaves us hoping all will “follow their bliss” and have such a life." -- Robert Micheal Oliver DC Metro Theater Arts

Current Projects

Upcoming

Inspiring DC Theatre

Grace is 27, married to her high-school sweetheart, makes good money, and should be way happier than she is. But her husband lost his job and now all he does is play Xbox and smoke pot and Mary-Kate and Ashley Olsen might be her best friends but maybe they only like her because she’s their new target demographic. Or maybe…they’re actually going to save her. A funny play about sad people.

Female Chorus in Murder in the Cathedral. Photo by Stan Barouh.

More from the audience...

"Poignantly directed, with the care and creativity you normally would see at much bigger play houses, Lucinda Merry-Browne, has a great aptitude for literary interpretation." - Amy Juras, MD Theatre Guide

"Most impressive was the work of the chorus, representing the women of Canterbury, devoted members of the church and parishioners of Becket. Crisp diction, magnificent vocal control and individual characterizations all combine to stunning effect." - Jeffrey Walker, DC Theatre Scene

"Even though each woman has solo lines, they do not upstage each other and manage to be individuals within a cohesive unit." - Danielle Angeline, DC Metro Theater Arts

"They know and do not know, what it is to act or suffer.
They know and do not know, that action is suffering
And suffering is action. Neither does the actor suffer
Nor the patient act. But both are fixed
In an eternal action, an eternal patience
To which all must consent that it may be willed
And which all must suffer that they may will it,
That the pattern may subsist, for the pattern is the action
And the suffering, that the wheel may turn and still
Be forever still."
- T.S. Eliot, Murder in the Cathedral

Canterbury Cathedral. (Photo by DAVID ILIFF. License: CC-BY-SA 3.0)