Jesus Christ Superstar opens at Signature on May 9. (Signature)
DON’T MISS
Could Muhammad move a mountain, or was that just PR? Jesus Christ Superstar will ask that question and more at Signature (May 9).
Get transported with Constellation’s music-driven production of The Arabian Nights (May 4).
Sanctuary! See what Synetic can do with Victor Hugo’s classic, The Hunchback of Notre Dame (May 10).
Maria Callas “herself” will give a Master Class over at MetroStage (May 4).
The Klunch takes a hard look at a former first lady’s early life in Laura Bush Killed a Guy (May 4).
Susanna Hamnett in Nearly Lear at Kennedy Center (courtesy susannahamnett.com)
ALSO OPENING
Gallaudet’s Commedia dell’Arte company Faction of Fools holds its 8th annual “Fool for All” play-in-a-day with Tales of Chaos and Cannoli (May 21).
“What if you had all the money in the world and gave it all away?” Folger produces Shakespeare’s lesser-known history play, Timon of Athens (May 9).
As part of its Voices From a Changing Middle East Festival, Mosaic puts on Ulysses on Bottles Gilad Evron’s play about an Israeli-Arab ex-teacher who sails into Gaza on a raft made of plastic bottles. (May 18).
Spooky Action asks “What is reality?” in The Man Who, inspired by neurologist Oliver Sacks’ book The Man Who Mistook his Wife for a Hat (May 11).
Keegan tackles the unconventional love story of two middle-aged farmers in Outside Mullingar, by John Patrick Shanley (Doubt) (May 6).
Studio’s The Father explores when life gets challenging for one 80-year-old man (May 10).
Kennedy Center offers a few quick hits with Nearly Lear, a one-woman re-telling of the Shakespeare tragedy (May 12-14); Titus, from Belgian playwright Jan Sobrie (May 20-21); and a week-long run of the one-man show, Mouth Open, Story Jump Out, from UK spoken-word artist Polarbear (May 20).
They pay for the privilege to pee in Next Stop’s Urinetown (May 25).
A mathematician copes in Olney’s take on David Auburn’s Pulitzer-winning Proof (May 17).
Robert McNamara adapts German director Rainier Werner Fassbinder’s film Fear Eats the Soul at Scena (May 12).
Shakespeare Theater Company reboots a Moliere satire with The School for Lies (May 30).
Gender dynamics drive Woolly Mammoth’s latest, Hir (May 22).
See what WSC Avant Bard can do with King Lear (May 25).
Joy Jones as Beneatha Younger and Lizan Mitchell as Lena Younger in A Raisin in the Sun, closing at Arena Stage on May 7. (C. Stanley Photography)
STILL PLAYING
Catch Shakespeare Theater Company’s production of Macbeth through May 28.
Brighton Beach Memoirs runs at Theatre J through May 7.
Aladdin and the Wonderful Lamp keeps the magic carpet going at Adventure through May 21.
Arena’s meditation on race, Smart People, runs through May 21; read our interview with the cast; while its revival of A Raisin in the Sun, which we called “as riveting as ever,” ends May 7.
The touring production of Fun Home, which we said, “brings Alison Bechdel’s comic to raw and raucous life,” closes at the National Theater on May 13.
Or, Round House’s send-up of 19th century playwright Aphra Behn, closes May 7.
Pointless’ “rotoplastic ballet” .d0t, which we wrote, “entertainingly blends sci-fi with politics,” ends May 6.
Rorschach’s tale of a Christian missionary in Indonesia, Forgotten Kingdoms, closes May 21. Stay tuned for a review this week.
Ford’s Theatre’s Ragtime, which we called “rich and relevant,” closes May 20.
The Spanish language production of Lin-Manuel Miranda’s In the Heights, which we wrote, “resonates with the gentrification of Columbia Heights,” closes May 21.
Next Stop’s aviation-inspired Boeing Boeing closes May 8.
COMING SOON
June brings August Wilson’s How I Learned What I Learned to Round House, Hedwig and the Angry Inch to the Kennedy Center, a touring Rent to the National, and The Source Festival.
